The newly published book The Contemporary Christian Music Debate' by STEVE MILLER has already attracted rave reviews. Cross Rhythms enthused that it was "the most important work published on the subject of music for decades." But who is its author and what made a divinity professor from Georgia spend years researching the development of contemporary music styles within the Church? Steve Miller was interviewed by Jan Willem Vink.

Concerning praise music, it is contemporary. It is certainly not traditional church music, which is in the popular styles of past generations. Often praise music was first performed and written by popular Christian artists. But I certainly believe that one of the most important things we can do to set the stage for revival is to put our local worship more in the musical language of the people of our congregation. This doesn't necessarily mean banning all traditional hymns. It does mean rethinking our worship style in the light of the Bible and the people we are ministering to."

Most of your book is about CCM, however the music you name in the chapters about the history of church music is more congregational/praise music. You don't seem to separate both categories. Why? Do you think the contemporary styles, such as rock, pop, etc should be used in church in order to give it more appeal to the non-Christians?

"I believe that the history of our hymns is perhaps the most enlightening aspect of the entire controversy. When we understand this history, the question is no longer 'Should we use the world's styles?' but rather, 'Which era of the world's styles will we use?' The styles used by the early church, Luther, Calvin, Watts, Wesley, etc were all once the styles popularised by and created by the world. I carefully document this in my book. And when Christian songs were written using these new forms, they were often first used outside the context of local congregations. In the first part of the 16th century, the court poet of King Francis I wrote metrical versions of the Psalms set to popular French tunes. Accompanied by the viol or flute, these were used more as a delightful art than for worship. But eventually the Psalms found their way into the church worship books, including Calvin's Geneva Psalter. Today, as well, new hymnbooks are including songs that were originally written by the Gaithers, Keith Green, etc. I don't make a separation because the church music I trace was once the contemporary music of its time.

"I don't think that contemporary music should be used just because it is contemporary. I think that it should be used in a church only if it is the best music to fulfil the desired biblical function. For example, Colossians 3:16 speaks of admonishing and teaching through music. If the people of a congregation are best taught with traditional hymns of Psalms, then this is fine. But some churches are finding that their music is not challenging and teaching their people. So, they are exploring other, more contemporary options. Other churches are designing services to reach and minister to those who have not grown up in a church and do not respond positively to traditional church music. Willow Creek church in the suburbs of Chicago, for instance, has seeker services which use music indigenous to unchurched, middle class people. They use rock and pop with great effect in these services (over 14,000 people attend!). We do need to consider the reactions of non-Christians when we plan our services (I Cor 14:23-25)."

You mention different functions of music in the Bible. Most music, even CCM, is used for entertainment nowadays. How do you look at that? Don't you think a lot of CCM lacks its edge simply because it doesn't get out of the Christian circuit?

"I disagree with your premise. True, I have heard of one artist who says that his desire is to provide good, clean entertainment for youth. But of all the artists I have worked with, the great majority are deeply concerned that their concerts and worship leading are avenues for God to touch people's hearts. True, many people attend conferences and concerts because they like the music and want to be entertained. But often these people experience a renewed walk with God as a result of attending.

"It's difficult to answer your last question. Perhaps some need to stay in the Christian circuit because they are gifted in exhorting Christians or leading worship rather than evangelising the lost. But Jesus said that he would leave the 99 sheep in order to find the one lost sheep. But how do you do that if you are a Christian artist with a heart for evangelism? Mark Famer, formerly of the popular rock group Grand Funk Railroad became a Christian and decided to use his platform for sharing the gospel. Instead of getting on the Christian circuit he plays in places where non-Christians hang out. After he plays, he will stay up late at night talking to people about the gospel. But artists who began their singing in Christian circles will not get invited to the places that Mark Farner will. If a group has a heart for evangelism, I believe they need to find ways to get Christians to bring non-believing friends to their concerts or camps. I have seen the Resurrection Band work well with evangelism, particularly among inner city groups."

You say the same spiritual qualifications that pastors/elders etc should have are valuable for Christian artists. Do you think this is an area that is neglected a lot? Who are responsible for the artist's spiritual well-being? Their pastor, the record company, management, etc?

"I believe that Christian artists should at least have the qualifications of deacons (special servants in the church) as listed in I Timothy 3 and Acts 6. It hurts everyone when visible Christians lack depth, theological accuracy, or consistency in their lives. Church leadership 'who keep watch over their souls' (Hebrews 13:17) are responsible for their spiritual well-being. I am delighted when I hear of pastors praying with artists from their churches prior to concerts. But many artists are probably operating their ministry without any spiritual oversight. This is dangerous.

"Christian record companies also have a responsibility to make sure they are looking for people with Christian character, not just pretty voices. Also, local churches and camps need to take more responsibility in this area. Mike Warnke was going from wife to wife and mishandling finances while churches were bringing him in to speak. Why didn't these churches contact his manager or local church to ask hard questions about his church involvement, family life, accountability, etc?"

From a biblical perspective you come to a conclusion that all styles of music can be used for the gospel. The examples in your book are all on the 'safe side'. How do you look to more extreme styles, such as house, death metal, etc?

"I do speak of groups like Rez, who play hard rock music and would not be classified by most Christians as 'safe'. But you're right. There are more extreme styles. Any musical style is like a knife. In the hands of a surgeon, it can heal. In careless or evil hands, it can kill. But the inherent neutrality of a style does not necessarily mean that it can be used effectively for ministry. For example, if a style is solely associated with evil in people's minds, then it would not function well to carry the truth. But often a style or instrument will begin with bad associations and later lose those associations. An early form of the organ probably accompanied the slaughter of Christians in the early church. The piano was once considered much too secular an instrument to be used in the church. But associations change. Can house music be used for God? We need to ask the group of people we are trying to reach how they view house music. If they see it as 'just good music' with no moral associations, then it may have potential. This is the approach used by missionaries who are looking for legitimate styles in which to couch their hymnody."

In the first paragraph of 'The Contemporary Christian Music Debate' you talk about the huge potential that exists within contemporary Christian music. How much of that potential is currently being demonstrated in today's CCM scene?

"Very little. Most churches seem more bound to tradition than to the word of God, at least regarding their music. And they seem surprised that their youth don't respond to musical styles that lost their popularity generations ago. Christian schools have been slow to offer training in newer worship styles. 85 per cent of American church youth live on a steady diet of secular pop and rock music. Only half of them have even heard of Petra, the most popular Christian rock band. I believe that it is time for the theologians, local pastors, church musicians and other Christian leaders to begin seriously considering one of the most compelling issues facing the church today. By ignoring this issue we risk losing a generation that is rejecting Jesus, often not because of his life and message, but because of the antiquated forms in which we are presenting him."

The book 'The Contemporary Christian Music Debate' is published in the UK by Scripture Press and is available from all Christian bookshops.