Ebook Download Measuring the Music: Another Look at the Contemporary Christian Music Debate, by John Makujina
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Measuring the Music: Another Look at the Contemporary Christian Music Debate, by John Makujina
Ebook Download Measuring the Music: Another Look at the Contemporary Christian Music Debate, by John Makujina
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Product details
Paperback: 369 pages
Publisher: Old Paths Publications; 2nd edition (2002)
Language: English
ISBN-10: 1889058149
ISBN-13: 978-1889058146
Package Dimensions:
8.4 x 5.5 x 1.1 inches
Shipping Weight: 15.2 ounces
Average Customer Review:
3.4 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#1,822,479 in Books (See Top 100 in Books)
The basic premise of this book is that CCM is Eeevil because of the Big Beat. The BIG BEAT harkens back to Frank Garlock's funny little pamphlet/book from 1971 Big Beat: A Rock Blast and shares the lineage with a BYU master's student's thesis in that Provo, Utah, religion department, ROCK 'N REALITY Rock 'n' reality: Mirrors of rock music, it's relationship to sex, drugs, family & religion (Nov. 1971) by E. Lynn Balmforth, with the same arguments, which according to Steve Benson, grandson of Mormon/LDS prophet Ezra Taft Benson, are based on John Birch Society publications.This volume is used as a seminary/college textbook at the following institutions, based on my web searches, Western Reformed Seminary in Washington state, the Detroit Baptist Theological Seminary, the Reformed Presbyterian Theological Seminary, and Maranatha Baptist Bible College. Others, I assume, for adult students. Most of the themes date from 1970-1985-ish through adolescent books for teenagers and their parents, notably Bob Larson (ROCK & ROLL, THE DEVIL'S DIVERSION from 1966 Rock & roll: The devil's diversion, repackaged as THE DAY THE MUSIC DIED The day music died), David A. Noebel (RHYTHM RIOTS & REVOLUTION Rhythm, Riots, and Revolution: An Analysis of the Communist Use of Music, the Communist Master Music Plan, which was repackaged in 1974's THE MARXIST MINSTRELS, A HANDBOOK ON COMMUNIST SUBVERSION OF MUSIC The Marxist Minstrels: A Handbook on Communist Subversion of Music, also THE LEGACY OF JOHN LENNON, CHARMING OR HARMING A GENERATION from 1982 The Legacy of John Lennon: Charming or Harming a Generation?; Noebel's, um, scholarship had folks being cooked in pots and folksingers taking over the West?), and Frank Garlock's aforementioned THE BIG BEAT.The orgiastic dance references in Chapter 2 descend from Bob Larson's ROCK & ROLL THE DEVIL'S DIVERSION, though in spirit and theme they suggest the LADIES HOME JOURNAL articles from August and December, 1921, respectively, "Does Jazz Put the Sin in Syncopation" and "Unspeakable Jazz Must Go." (If syncopated jazz is satanic in origin, that makes Lawrence Welk's sweet big band and dixieland jazz recordings satanic? I like that idea!)References to the overall sound, melody vs. rhythm/syncopation date back to Frank Garlock's THE BIG BEAT, about pages 30-31, as well as mention in Lowell Hart's SATAN MUSIC EXPOSED book in the 1980s Satan's Music Exposed.Chapter 5, "Aesthetics, Music, and Morality" suggests Makujina referenced David Noebel's 1982 THE LEGACY OF JOHN LENNON book, specifically that work's chapter 3, "The Culture," referring to Noebel's distaste for abstract Dada and Surrealism, and that based on H. R. Rookmaaker's book, MODERN ART & THE DEATH OF A CULTURE.And Chapter 6, "Rock Music & Pyschological Studies" is devoted to a soft defense of rock-music-affects-muscle-tone author John Diamond, not by supporting John Diamond's book, YOUR BODY DOESN'T LIE Your Body Doesn't Lie: Unlock the Power of Your Natural Energy!, but seeks to undermine any criticism of that new age work. And the rock-music-kills-plants 1968-73 theme by undergraduate Dorothy Ratallack at Colorado Women's College, also known as Temple Buell College, from her 1973 book, THE SOUND OF MUSIC & PLANTS The Sound of Music and Plants,, published by Devorss & Company, a publisher that specialized in titles such as LIFE AND TEACHING OF THE MASTERS OF THE FAR EAST and LIVING THE SCIENCE OF THE MIND, other Eastern Philosophy and mind control for wealth tracts.... I note that both such themes, John Diamond and Dorothy Ratallack's references, show up in LDS books aimed at youthful music taste by Jack R. Christianson, in a popular series based on a talk, then magazine article and book, APPLES OR ONIONS Making the music decision, which reference eeevil rock music as a caramel-dipped yellow onion distributed to jocks at a high school pep rally, circa 1982, then expanded upon in his 1989 and 1994 LDS books and tapes sold through Deseret Book.In a nutshell, the CCM controversy ("controversy?") is about the association with THE BIG BEAT with, per Frank Garlock's book, "here are a few of the 'associates' of rock: drug addicts, revolutionaries, rioters, Satan worshippers, drop-outs, draft-dodgers, homosexuals and other sex deviates, rebels, juvenile criminals, Black Panthers and White Panthers, motorcycle gangs, blasphemers, suicides; heathenism, voodooism, phallixism, Communism in the United States (Russia outlawed rock music around 1960), paganism, lesbianism, immorality, demonology, promiscuity, free love, free sex, disobedience (civil and uncivil), sodomy, venereal disease; discotheques, brothels, orgies of all kinds, night clubs, dives, strip joints, filthy musicals...."
I found Makujina's book to be a nice potpourri of musical scholarship. He explains how the various artistic styles found in music and the arts are each connected to a cultural philosophy. He alerts the audience that he has read and will review the arguments made in all the major books written on CCM, books from both camps of the CCM argument. He catalogues the arguments for and against the CCM movement using these previously written books and then plunges into a nice high-level view of some of the most convincing arguments used from both camps, while comparing them to Scripture and scholarship. The book concisely and accurately measures the CCM industry for what it is -- a money-making industry owned mainly by secular companies using a music medium that was developed by pagan tribes for pagan practices. I thought Makujina presented the facts in a very scholarly manner, although I'm sure the blind will remain blindly loyal to their CCM music regardless of how factual his arguments.
Makujina identifies Rock and avant garde music as musical movements with an agenda. The former comes from the emotional side and the latter the intellectual, but the agenda is the same: the promotion of intellectual and moral nihilism. Speaking as one with an academic background in classical music, I find Makujina's treatment of music history in general and avant garde in particular impressively broad and accurate, especially considering that his professional specialty is Old Testament Scholarship. I cannot verify the quality of his treatment of Rock music and Contemporary Christian Music, but if he is notably informed and meticulous in other aspects of music, he is probably comparable with Rock and CCM. Makujina brings skill in Scriptural exegesis and abundant rigorous argument into his writing, and surprises one with being highly conversant in diverse areas of thought. Some will not accept that the musical style of Rock is inseparable from its agenda. If it is inseparable, as Makujina argues, then what he discloses about that agenda casts doubt on its usefulness in musically articulating the Christian religion. In any case, the connection he draws between Rock and avante garde, as well as his quality of scholarship, is worth the reading.
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