Sing a New Song: Towards a Biblical Theology of Song (original) (raw)
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Examining Contemporary Congregationsl Song - beyond sung theology
2013
What Christians sing as they worship is a focus of considerable attention in the contemporary church and yet it has been a contentious issue at almost every period of Christian history. Since the mid-twentieth century, significant social, cultural, and technological changes, all against a backdrop of increasing global consciousness, have affected the way music functions and the ways opinions about repertoire and performance practices are formed. The primary focus of this project is the analysis of eight songs composed between 1983 and 2001. The essential question is how musical analysis contributes to a greater understanding of the nature of contemporary congregational song and various performance practices. This project will focus on analysis of harmonic structures as the major element. This will provide a framework from which comparisons of other musical elements can lead to a greater awareness of the issues of music and worship, and of music and theology. Developing a greater und...
“But is it any good?” The role of criticism in Christian song composition and performance
Global Forum on Arts and Christian Faith, 2014
But is it any good?" The role of criticism in Christian song composition and performance DAN FITZGERALD AND BRIAN SCHRAG Introduction Everyone's a critic, but good ones are rare. God judged his own creative output in Genesis as "very good," and Aaron's golden calf in Exodus as "very bad." Throughout history, church leaders have regarded one instrument after another as inappropriate or evil, only grudgingly admitting their use in response to popular practice. John Wesley told his community of churches to sing faster (Young 1995; Reynolds, Price, and Music 1999), while pastors in northwest Democratic Republic of Congo often urge their congregations to slow down. Music conservatories offer courses-though in diminishing numbers-on judging and understanding the canon of Great Works. And the canon itself is a staggering critique, with 95% of all compositions not making the grade. The New York Times daily acclaims, applauds, and censures musical performances. Grammy Awards, MTV India Music Awards, Native American Music awards. .. the music industry constantly tells us who the best performers are. Many Islamic leaders reject musical performance of any kind in mosques. Governments around the world hold contests to identify their best artists. Conferences and books explore cultural definitions of bad music, and why so many of us like to listen to it (Washburne and Derno 2004; Experience Music Project 2006). Every day we decide what music to make or let enter our private and corporate experiences through phones, radios, computers, bishops' meetings. Everywhere, all the time, everyone's a critic. But good ones are rare. The recent ethnodoxology movement owes its existence largely to a reaction against inadequate criticism (Schrag and Harris 2014). Vida Chenoweth stated it negatively-"Spare Them Western Music!" (1984)-in a blanket rejection of sounds and practices she saw as suffocating certain local musics. Ethnodoxologists run song composition workshops believing that "heart music" is better than imported, translated songs. Todd and Mary Saurman and others have written thoughtful guides to the evaluation of Scripture songs (T. Saurman and Dan Fitzgerald (Ph.D. in Ethnomusicology, University of Florida) was a member of the Baka Bible translation project with SIL in Cameroon from 1995 to 2008. He is currently the Oral Bible Storytelling Coordinator with The Seed Company. Brian Schrag (Ph.D. in Ethnomusicology, UCLA) is SIL International's Ethnomusicology and Arts Coordinator, and developed the World Arts program at the Graduate Institute of Applied Linguistics in Dallas, Texas. He has performed sustained ethnomusicological research and community development in the Democratic Republic of Congo and Cameroon. Brian also applies ethnomusicological and therapeutic principles in promoting wellbeing among people affected by Huntington's Disease (HDBlues.org, MakeLifeHD.org).
Examining contemporary congregational song - beyond sung theology
What Christians sing as they worship is a focus of considerable attention in the contemporary church and yet it has been a contentious issue at almost every period of Christian history. Since the mid-twentieth century, significant social, cultural, and technological changes, all against a backdrop of increasing global consciousness, have affected the way music functions and the ways opinions about repertoire and performance practices are formed.
The Value of Smuggled Theology in Music
2019
Popular music is incredibly influential in children and young adults, especially in the United States. Much of the music being released today preaches a glamorized lifestyle of sexual immorality, drunkenness, and partying, saturating our youth with a warped sense of morality. Christians, however, have a unique opportunity to smuggle theology into mainstream music without positivity and good moral choices, opening doors for unbelievers to experience the gospel.
Journal of Religious Culture No. 291a (2024), 2024
In Part 1, the philosophy of religion, theological and cultural-theoretical prerequisites of Christian Songs are first dealt with. To this end, the terms religion, religious culture, culture, mythology, and beliefs are clarified. In the next step, Martin Luther's Protestant perspective on existence is presented in more detail. This is because Martin Luther's religious doctrine forms the theological basis of Christian Songs, but is not particularly well known to the public, which is determined by the Zeitgeist, or has recently been distorted. Finally, to understand the worldwide success of the singing movement, its performance is briefly addressed. In the second part, selected Christian hymns are analyzed to see to what extent they reflect the Protestant understanding of existence in the sense of Martin Luther, especially the theological principles sola gratia - by grace alone - and sola fide - by faith alone.