Publication of Joyful Noise by Ed Christian has again raised the profile of the music debate. This is always valuable because there is still much to think through and learn about Christian discipleship in this complex arena of life. Joyful Noise is substantially a reworked collection of pre-published articles centred on criticism of Samuele Bacchiocchi’s book, The Christian and Rock Music. It purports to be “a sensible look at Christian music” in order to bring healing on a sensitive subject and help alienated young people.

Christian’s appeal that music should not become a stumbling block to unity and that all music must be put on the same evaluation table is commendable. His comments on MTV videos, entertainment, applause, the need for worship music to be more congregational than “special music;” why hymns have been rejected, and the need for good song leaders are timely. The final sixty or so pages of the book present as genuine reflections from the heart of someone with a pastoral concern for the church.

However, the central thrust and apparent purpose of the publication needs greater depth and exhibits a cutting tone and weak arguments. Those who believe that Christian decision-making in music is largely a matter of subjective taste--that “any style of music can be used to convey a Christian message” and that “God approves and blesses, no matter what the style of music” as long as the lyrics support faith and Christian unity is not threatened--will find this book a welcome confirmation of their viewpoint. However, readers who sense the subject’s complexities and who recognize the need for something more objective will be disappointed with the lack of penetrating analysis on issues grappled with for centuries. Some key concerns are as follows:

By framing his discussion as a reaction to Bacchiocchi’s book, the author ignores the debate’s wider context that transcends Christian denominational boundaries, world religions, cultures, and centuries. If resolution to the music debate was as simple as Christian suggests, why wasn’t it resolved generations ago? Christian gives the impression that the music argument is essentially a battle between elitist Western classical music lovers and those who are pro-CCM (Contemporary Christian Music). This issue, hwoever, is much more complex.

Christian’s assertion that biblical references to music are “less useful than we think” while at the same time ignoring Ellen White materials is both surprising and unwarranted. In contrast, his emphasis on the so-called biblical imperatives of enthusiasm, clapping, and dancing leave one wondering what was so wrong with the Holy Flesh Movement in Indiana in 1900 which was opposed by Ellen White.

A disappointing feature of Joyful Noise is its cutting criticism of scholars in different fields of expertise. For example, the author caricatures Calvin M. Johansson’s position by painting an imaginary picture of his preferred church as “dead or dying.” In reality, Johansson is a professor at an Assemblies of God college and is known for his writings about Charismatic worship music practices.

Throughout the book, Christian’s constant mantra is that musical style is neutral. He simply asserts this, never offering evidence for it. Although he admits that, “there are some styles . . . that even without words are dark and menacing,” he keeps affirming that “God can be praised in every style.” Ultimately, what Christian is saying seems to boil down to doing whatever you feel is right for you. Such subjectivity is not really helpful when people sense the need for guidance. Undoubtedly, people come to know God through a variety of music styles, but God still holds his servants responsible for how they have represented him.

If we adopt Christian’s view that all styles of music are equally valid and that congregational offence is a significant arbiter of what ought to be done in a worship setting, we actually legitimize the pretext for people to worship with whatever music they find congenial and to form special interest worship groups based on similarity of musical taste. By this reasoning, rather than nurturing unity, music could become an even more divisive force within our church.

Although Christian speaks about his vision in terms of church relations and worship which is laudable, he fails to enunciate a musical vision—a vision of what “could be” musically in the church. His music philosophy is thoroughly pragmatic. It does not necessitate or call for Adventist musicians, as part of our wholistic message, to make a unique artistic contribution as a singular aesthetic witness to the world.

The fate of our young people is far too important to let our music drift randomly with no distinctive vision of what “ought to be” to guide it. Musically, as in all other arenas of life, P. T. Forsyth’s comment is pertinent: “Unless there is within us that which is above us we shall soon yield to that which is around us.” I believe that there are young people within our ranks who, with their youthful idealism, enthusiasm, and God-given talent, would rise to the challenge of a viable alternative musical vision. Sadly, Joyful Noise misses that opportunity.