Contemporary Worship Music: A Biblical Defense

I read this book after reading Dan Lucarini's book on the same topic. I found John Frame's arguments to be excellent. Of course, it always helps that I agreed with him, and have reached the same conclusions. In fact, I knew and used the vast majority of the contemporary songs that he mentioned in his book, before being forced out by a group of rebels who rejected my balanced approach in favor of a louder, edgier, in-your-face music style with less doctrinal content in the lyrics, and with less connection to historical Christianity overall (hymns are old and dead, and you can't worship God while holding a hymnal). I only wonder if this book is not already outdated. I wish Dr. Frame would write a follow-on volume to this book, since the quality (musical and theological) of contemporary Christian music seems to have declined so precipitously in the past few years, due to an apparent attempt by the industry to expand its crossover appeal (and market share) at the expense of being overtly Christian. I would be very interested to hear his writings on "christian" music of the past five years, and the lifestyle of those who propogate it.

Written as a sequel to his earlier work on Worship in Spirit and Truth, this book focuses upon the new trend of Contemporary Worship Music (CWM), beginning with an all too brief theology of music and then exploring the pros and cons of this style of music. The author brings a unique perspective to the work as he personally favors a more classical style of music while still endorsing the value of this modern trend. Though Frame is a competent theologian, his experience in the strengths and frailties of CWM go beyond the classroom as he draws from his extensive experience in leading worship in both traditional and contemporary settings. An honest attempt is made to balance both the pros and cons of CWM as each of the arguments for and against this style is presented. In the end, Frame advocates a mixture of both classical, traditional and contemporary music. In this era of intellectual and theological pluralism, it could be argued that his approach is a surrender to the philosophy of the world. But instead, it is seen to be in keeping with the principle stated in 1 Corinthians 14 that worship is to be understandable to the worshipers; that it is to take the form both of their spoken as well as their musical language. This conclusion of a diversification of musical styles is even more important if a congregation is itself composed of a mixture of various ages and cultural background. Frame speaks out against the popular tactic of dividing congregations into traditional and contemporary, pointing out that both groups need each other. Because I minister in a very cross-cultural setting, both with respect to age as well as with different national backgrounds, it becomes imperative that I am increasingly sensitive to the cultural translation or worship. My own tendency might be to move further toward Contemporary Worship Music, but I need to be equally sensitive to those who speak the language of traditional hymnology. On the other hand, Frame reminds the reader regarding Contemporary Praise Music: "These songs are very close to the biblical text, focus on the praise of God, and communicate well with people of our time. It is hard to imagine why any knowledgeable Christian thinker would reject such music. But as we have seen, many do so out of ignorance of the songs and because of broader theological agendas wrongly applied to the CWM songs" (Page 129).

John Frame's book Contemporary Worship Music, is a must for any Christian, who truly wants a balanced defense of today's Worship music. Frame's classically trained background in music, and his theological training as a teacher and student, make him the perfect writer to bring a "balanced" argument for the use of contemporary worship music. A perfect tool and resource for any worship leader and pastor.

Though Frame comes from a Presbyterian/Reformed tradition, which is usually more conservative in terms of worship tastes, in this book he shows that many in the Reformed/Presbyterian and conservative traditions have not always got it right in their criticisms of contemporary worship music.I found this book excellent! Frame is open and willing to learn from Christians of other traditions. His book is balanced. He advocates a mixture of both contemporary praise music and traditional hymns. Both have their strong points and both have their weaknesses and Frame tells you what they are in this book.For charismatics and more conservatives, we need to learn from one another. And this book helps us learn from one another in a main issue that divides charismatics and conservatives. A great read, bound to challenge one's thinking. And a book of biblical balance - more of which is needed in Christianity today.

Frame writes as a classically-trained musician and theologically sophisticated Presbyterian/Reformed seminary professor in his 50's who adopted praise music late in life and with much initial resistance. He provides an extensive musical and scriptural evaluation--and eventually qualified affirmation--of praise music. He has read and understood his opponents (especially Marva Dawn) and he interacts with them in detail. He is especially good at providing detailed evaluation of actual hymns and praise songs and coming to reasoned conclusions about them. (So much of the debate over praise music involves more strong feelings on both sides than considered evaluation by either.) Along the way he gives the lie to stereotypes like, "praise songs are narcissistic." Frame concludes that praise music is indeed still uneven and incomplete, but that--especially at its best--it is a spiritually, musically, and lyrically worthy genre of music for worship. His parting words are, "What we must not do is to lash out as one another with false pretensions to knowledge, sophistication and rationality, and with intellectual arguments that are little more than masks for underlying anger." Amen!