Christian music has become big business. It is one that can be either spiritually edifying or spiritually void. The choice greatly depends on how individual Christians and churches consider and choose to use the Christian music of the eighties.
Intelligent choices are dependent on both a full awareness of the existing potential, and the formation of a philosophy—or better still, a theology—of music ministry.
There are some major evangelical publications dealing with Christian music trends, philosophy, and practical application that can be of great assistance in helping anyone make intelligent choices in using Christian music. The following books and periodicals offer such aid in making those choices.
Books
Music in the Christian Community, by Dale Topp (Eerdmans, 1976, 205 pp., $4.95), should be read by the Christian church at large as individuals attempt to appropriate God’s gift of music. Says Topp: “We accept music as an aspect of Sunday worship, but generally fail to use its power to meet the challenges of everyday living.” Through such chapters as “Worshiping God.” “Serving Man,” “Choosing People,” “Music in the Christian Church,” “Music in the Christian Home,” and “Music in the Christian School,” this volume encourages the reader toward the use of the power of music in meeting the challenges of everyday living.
As the title would indicate, Ministry and Music, by Robert H. Mitchell (Westminster, 1978, 163 pp., $5.95), is a book about the philosophy of music ministry. Its perspective is that every minister can expect to be involved in church music and every church musician can expect to be involved in ministry. This book helps the minister relate his theology to the goals of church music, and it assists the church musician in relating his musical expertise to the broader concept of Christian ministry.
Why Should the Devil Have All the Good Music?, by Paul Baker (Word, 235 pp., $7.95), presents a spiritually sensitive, chronological review of the newer style of contemporary Christian music. He provides much food for thought as he opens to the reader some of the deep motives of the musicians of this new style, as well as some of the failings inherent in this music and its practitioners. The book gives readers an opportunity to form or reform a personal philosophy about the validity of the newer contemporary Christian music.
Church Music and the Christian Faith (Agape, 1978, 156 pp., $3.95) is by one of traditional church music’s most articulate spokesmen, Erik Routley. He challenges readers to consider the intrinsic value of music as a legitimate theological consideration. He believes much new Christian music is not worthy of the name, for it diverts from the true message of the Christian gospel.
In a day of unprecedented opportunity for Christian evangelism through music, Christian Music in Contemporary Witness, by Donald P. Ellsworth (Baker, 1979, 229 pp., $7.95), makes a significant contribution. The author not only deals in depth with the opportunities, challenges, and the pros and cons of musical evangelism efforts today, but also presents convincing historical precedents.
The Hymnal Companion, edited by Fred Bock and Bryan Jeffery Leech (Paragon, 1979, 258 pp., $12.95). was created as a companion to the popular Hymns for the Family of God. Even individuals and churches not using the hymnal will find this book a valuable and useful asset in creative worship planning. Recognizing the important place traditional and contemporary hymnody has in evangelical worship, the editors have provided many suggestions for expanded uses of hymns. For example, there is a section on the use of a hymnal at home, and sample worship services are given. Four unusual indexes are included: (1) a list of schools offering degrees in church music; (2) a list of church music organizations and workshops; (3) a list of church music books and periodicals; and (4) names and addresses of church music publishers.
One of the music ministry’s great opportunities today is the Christian musical. Church leaders who want to make the best use of this new repertoire must have at least a basic knowledge of theatrical techniques and terminology. There’s More to Musicals than Music, compiled by Grace Hawthorne (Somerset Press, 1980, 70 pp., $4.95), will assist them in doing that. Hawthorne says the book is designed to help in producing musicals “that look as professional as they sound, without hiring additional staff members, going back to school for a dramatic degree, or losing your sanity.”
An increasing number of churches, both large and small, are recognizing that proper electronic sound amplification and lighting can enhance their music ministries. This is especially true of special events such as musicals and concerts. Creative Sight and Sound for the Church Musician, by Fred R. Chambers (Convention Press of the Southern Baptist Convention, 1978, 62 pp.), is a primer of technical suggestions for sound and lighting, and presents solutions to problems. Such information, which is not provided to church musicians or pastors in their formal training for the ministry, is invaluable for an effective contemporary ministry.
Jubilate!, by Donald P. Hustad (Hope. 1981, 361 pp., $14.95) is aptly subtitled “Church Music in the Evangelical Tradition.” Hustad, long a recognized authority in evangelical church music, is convinced that church music should be approached “as a functional art,” and sets out the possibility that church music’s most important meaning can be safeguarded in the activities of the evangelical church. The book is both philosophical and practical, addressing such broad areas as musical languages in communication and conflict, music and worship, music and church renewal, as well as the narrower concerns of congregational singing, foreign missions, soloists, and small ensembles, even assessing professional opportunities for musicians in evangelical groups.
Often it is not until after they are involved in church music that many people discover how much they don’t know about it. A Choir Director’s Handbook, compiled by Andrea Wells Miller (Word. 1981, 211 pp., $9.95), seeks to bridge the information gap, and puts an abundance of material into the hands of people concerned with their church’s music program. Nineteen chapters, such as “How to Achieve Excitement and Momentum in a Choir Program and Keep It.” “Developing Good Repertoire and a Balanced Choral Library,” “Planning the Worship Service,” and four centered on what others—pastors, accompanists, teen-agers, and choir members—wish choir directors knew, deal with most contemporary problems. Contributors include Kurt Kaiser, Lloyd Ogilvie, John Purifoy, Richard Dinwiddie, and Cam Floria.
Periodicals
Creator, bimonthly magazine (Creator Publications, Number 25 Rolling Hills, Wichita, Kan. 67212; $16.95 per year), is geared to church music leaders, but its well-rounded approach to a total church music ministry will benefit anyone who is interested in using Christian music effectively. Since its inception two years ago, Creator has provided a high-quality, practical tool for people in music ministries. With thought-provoking editorials, how-to articles, interviews with composers and artists, news of the world of Christian music, and samplings of new music, it is a rich resource.
Contemporary Christian Music, monthly magazine (CCM, Box 6300, Laguna Hills, Calif. 92653; $15 per year), provides readers with a wide perspective on the new contemporary Christian music. There is an often-provocative editor’s corner, an in-depth interview with a well-known Christian artist, record reviews, album and singles charts, song charts, artists’ itineraries, and news of the contemporary Christian music scene. The magazine is increasingly giving attention to the related field of contemporary Christian radio. Its size, style, layout, and content cause some to consider it to be the Billboard (the music industry’s trade journal) of present-day Christian music.
First published in 1950, The Church Musician, monthly magazine (Sunday School Board of the Southern Baptist Convention, 237 9th Ave. N., Nashville, Tenn. 37234; $6.50 per year), is the senior member of Christian music publications. While published by one denomination and aimed at its constituency, the magazine transcends denominational boundaries as a planning, idea, historical, and spiritual enrichment resource for those with church music responsibilities.
Those interested in developing the church’s ministry to children through music will receive a wealth of helpful material through the Choristers Guild Letters, published monthly September through June for members (The Choristers Guild, Box 38188. Dallas, Tex. 75238; regular memberships: $15 annually). Such titles as “Songs for Very Young Children,” “Productivity in Rehearsals,” “Hymn Study in the Church School,” and “The Joy of Children’s Choral Tone” are a sampling of subjects from recent issues.
The ringing of handbells by children, youth, and adults is one of the fastest-growing forms of music ministry. Overtones, published bimonthly for members by the American Guild of English Handbell Ringers (Mary V. Kettelhut, Registrar. Yankee Hill Rd., R.R. #1, Box 118, Bennet, Neb. 68317; regular memberships: $15 annually), is a specialized publication that is becoming increasingly useful and popular with music leaders in churches of most every denomination and size. It is a practical aid to organizing and administering a successful handbell choir. Membership in AGEHR also brings added options of workshop and festival participation by directors and ringers.
