Best Line of Argument on Contemporary Worship Music
The most helpful stuff on contemporary worship music I’ve read comes from those trained to discern the meaning of cultural forms (semiotics). That’s why media ecologists like T. David Gordon are so insightful. I’m not the prophet he is, but see his article, “The Imminent Decline of Contemporary Worship Music: Eight Reasons.” One point that has stuck with me:
One generation cannot successfully “compete” with 50 generations of hymn-writers; such a generation would need to be fifty times as talented as all previous generations to do so. If only one-half of one percent (42 out of over 6,500) of Charles Wesley’s hymns made it even into the Methodist hymnal, it would be hubristic/arrogant to think that any contemporary hymnist is substantially better than he. Most hymnals are constituted of hymns written by people with Wesley’s unusual talent; the editors had the “pick of the litter” of almost two thousand years of hymn-writing. In English hymnals, for instance, we rarely find even ten of Paul Gerhardt’s 140 hymns, even though many musicologists regard him as one of Germany’s finest hymnwriters. Good hymnals contain, essentially, “the best of the best,” the best hymns of the best hymnwriters of all time; how could any single generation compete with that?
Just speaking arithmetically, one would expect that, at best, each generation could represent itself as well as other generations, permitting hymnal editors to continue to select “the best of the best” from each generation. Were this the case, then one of every fifty hymns we sing should be from one of the fifty generations since the apostles, and, therefore, one of every fifty should be contemporary, the best of the current generation of hymnwriters. Perhaps this is what John Frame meant when, in the second paragraph of his book on CWM, he indicated that he had two goals for his book: to explain some aspects of CWM and to defend its “limited use” in public worship. Perhaps Prof. Frame thought one out of fifty constituted “limited use,” or perhaps he might have permitted as much as one out of ten, I don’t know. But our generation of hymnwriters, while talented and devout, are not more talented or more devout than all other generations, and are surely not so by a ratio of fifty-to-one.