By Jay R. Howard
Apostles of Rock is the 1st aim, finished exam of the modern Christian tune phenomenon. a few see CCM performers as ministers or musical missionaries, whereas others outline them as entertainers or artists. This well known musical circulation basically conjures up a number of responses about the dating among Christ and tradition. The ensuing tensions have splintered the style and given upward thrust to false impression, clash, and an obsessive concentrate on self-examination. As Christian stars Amy furnish, Michael W. Smith, DC speak, and Sixpence None the Richer climb the mainstream charts, Jay Howard and John Streck speak about CCM as an incredible circulation and convey how this musical style pertains to a bigger pop culture. They map the area of CCM by way of bringing jointly the views of the folk who practice, learn, industry, and hear this track. via interpreting CCM lyrics, interviews, performances, websites, and chat rooms, Howard and Streck discover the spiritual and aesthetic tensions in the CCM group. eventually, the clash situated round Christian tune displays the fashionable spiritual community's figuring out of evangelicalism and the community's complicated dating with American pop culture.
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Additional resources for Apostles of Rock: The Splintered World of Contemporary Christian Music
Different theologies lead to different aesthetics. The second major aesthetic critique of contemporary Christian music focuses not on the music's use within the worship service but rather on its use as a tool for evangelism. Specifically, critics argue that CCM promotes a shallow, distorted gospel. I. Packer, for example, is troubled by contemporary Christian music. In some ways echoing Payton and Routley, Packer argues that with contemporary 38 Apostles of Rock Christian music "there is no kind of nurturing of the mind the way there was with the older songs.
66 By focusing on the ambiguous ideals oflove, peace, and philosophical humanism, it neglects to emphasize the sinfulness ofhumanity and the need for salvation. 67 Speaking of the evangelical church's use of the arts in general, Francis Schaeffer levels the charge that "all we have produced is a very romantic Sunday School art. " 68 Significantly, one does not have to look very hard to find many within the Christian music industry itself who agree with these charges. CCM pioneer and author John Fischer charges that the concept of sin is missing from most CCM.
33 Larson also claimed that the steady pounding of the rock rhythm can lead to hypnotic trances and that dancing to rock music can lead to demonic possession. 34 Noebel and Larson, however, were not the only ones to voice such fears, and in works such as Dancing with Demons (1988), Backward Masking Unmasked: Backward Satanic Messages of Rock and Roll Exposed (1983), and The God ofRock: A Christian Perspective ofRockMusic(1982), religious critics of rock and roll have continued to expound on the evils identified by Noebel and Larson.