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Music does not make itself. It is made by people: professionals and amateurs, singers and instrumentalists, composers and publishers, performers and audiences, entrepreneurs and consumers. In turn, making music shapes those who make it—spiritually, emotionally, physically, mentally, socially, politically, economically—for good or ill, harming and healing. This volume considers the social practice of music from a Christian point of view. Using a variety of methodological perspectives, the essays explore the ethical and doctrinal implications of music-making. The reflections are grouped according to the traditional threefold ministry of Christ: prophet, priest, and shepherd: the prophetic role of music, as a means of articulating protest against injustice, offering consolation, and embodying a harmonious order; the pastoral role of music: creating and sustaining community, building peace, fostering harmony with the whole of creation; and the priestly role of music: in service of reconciliation and restoration, for individuals and communities, offering prayers of praise and intercession to God. Using music in priestly, prophetic, and pastoral ways, Christians pray for and rehearse the coming of God’s kingdom—whether in formal worship, social protest, concert performance, interfaith sharing, or peacebuilding. Whereas temperance was of prime importance in relation to the ethics of music from antiquity to the early modern period, justice has become central to contemporary debates. This book seeks to contribute to those debates by means of Christian theological reflection on a wide range of musics: including monastic chant, death metal, protest songs, psalms and worship music, punk rock, musical drama, interfaith choral singing, Sting, and Daft Punk.
Music is powerful and transformational, but can it spur actual social change? A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation. At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.
Musical activity is one of the most ubiquitous and highly valued forms of social interaction in North America (to say nothing of world over), being engaged from sporting events to political rallies, concerts to churches. Moreover, music's use as an affective agent for political and religious programs suggests that it has ethical significance. Indeed, many have said as much. It is surprising then that music's ethical significance remains one of the most undertheorized aspects of both moral philosophy and music scholarship. Music for Others: Care, Justice, and Relational Ethics in Christian Music fills part of this scholarly gap by focusing on the religious aspects of musical activity, particularly on the practices of Christian communities. Based on ethnomusicological fieldwork at three Protestant churches and a group of seminary students studying in an immersion course at South by Southwest (SXSW), and synthesizing theories of discourse, formation, and care ethics oriented towards restorative justice, it first argues that relationships are ontological for both human beings and musical activity. It further argues that musical meaning and emotion converge in human bodies such that music participates in personal and communal identity construction in affective ways-yet these constructions are not always just. Thus, considering these aspects of music's ways of being in the world, Music for Others finally argues that music is ethical when it preserves people in and restores people to just relationships with each other, and thereby with God.
Theology, Music, and Modernity addresses the question: how can the study of music contribute to a theological reading of modernity? It has grown out of the conviction that music has often been ignored in narrations of modernity's theological struggles. Featuring contributions from an international team of distinguished theologians, musicologists, and music theorists, the volume shows how music--and discourse about music--has remarkable powers to bring to light the theological currents that have shaped modern culture. It focuses on the concept of freedom, concentrating on the years 1740-1850, a period when freedom--especially religious and political freedom-became a burning matter of concern in virtually every stratum of Western society. The collection is divided into four sections, each section focusing on a key phenomenon of this period--the rise of the concept of 'revolutionary' freedom; the move of music from church to concert hall; the cry for eschatological justice in the work of black hymn-writer and church leader Richard Allen; and the often fierce tensions between music and language. There is a particular concern to draw on a distinctively 'Scriptural imagination' (especially the theme of New Creation) in order to elicit the key issues at stake, and to suggest constructive ways forward for a contemporary Christian theological engagement with the legacies of modernity today.
The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.
Keller explores a life of justice empowered by an experience of grace.
This essay collection celebrates the richness of Christian musical tradition across its two thousand year history and across the globe. Opening with a consideration of the fourth-century lamp-lighting hymn Phos hilaron and closing with reflections on contemporary efforts of Ghanaian composers to create Christian worship music in African idioms, the ten contributors engage with a broad ecumenical array of sacred music. Topics encompass Roman Catholic sacred music in medieval and Renaissance Europe, German Lutheran song in the eighteenth century, English hymnody in colonial America, Methodist hymnody adopted by Southern Baptists in the nineteenth century, and Genevan psalmody adapted to respond to the post-war tribulations of the Hungarian Reformed Church. The scope of the volume is further diversified by the inclusion of contemporary Christian topics that address the evangelical methods of a unique Orthodox Christian composer’s language, the shared aims and methods of African-American preaching and gospel music, and the affective didactic power of American evangelical “praise and worship” music. New material on several key composers, including Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach, Zoltan Kodály, and Arvo Pärt, appears within the book. Taken together, these essays embrace a stimulating variety of interdisciplinary analytical and methodological approaches, drawing on cultural, literary critical, theological, ritual, ethnographical, and media studies. The collection contributes to discussions of spirituality in music and, in particular, to the unifying aspects of Christian sacred music across time, space, and faith traditions. This collection celebrates the fifteenth anniversary of the Society for Christian Scholarship in Music.
God does not suggest, he commands that we do justice. Social justice is not optional for the Christian. All injustice affects others, so talking about justice that isn't social is like talking about water that isn't wet or a square with no right angles. But the Bible's call to seek justice is not a call to superficial, kneejerk activism. We are not merely commanded to execute justice, but to "truly execute justice." The God who commands us to seek justice is the same God who commands us to "test everything" and "hold fast to what is good." Drawing from a diverse range of theologians, sociologists, artists, and activists, Confronting Injustice without Compromising Truth, by Thaddeus Williams, makes the case that we must be discerning if we are to "truly execute justice" as Scripture commands. Not everything called "social justice" today is compatible with a biblical vision of a better world. The Bible offers hopeful and distinctive answers to deep questions of worship, community, salvation, and knowledge that ought to mark a uniquely Christian pursuit of justice. Topics addressed include: Racism Sexuality Socialism Culture War Abortion Tribalism Critical Theory Identity Politics Confronting Injustice without Compromising Truth also brings in unique voices to talk about their experiences with these various social justice issues, including: Michelle-Lee Barnwall Suresh Budhaprithi Eddie Byun Freddie Cardoza Becket Cook Bella Danusiar Monique Duson Ojo Okeye Edwin Ramirez Samuel Sey Neil Shenvi Walt Sobchak In Confronting Injustice without Compromising Truth, Thaddeus Williams transcends our religious and political tribalism and challenges readers to discover what the Bible and the example of Jesus have to teach us about justice. He presents a compelling vision of justice for all God's image-bearers that offers hopeful answers to life's biggest questions.
Why teach music? Who deserves a music education? Can making and learning about music serve the common good? A collection of essays considers the answers. In Humane Music Education for the Common Good, scholars and educators from around the world offer unique responses to the recent UNESCO report titled Rethinking Education: Toward the Common Good. This report suggests how, through purpose, policy, and pedagogy, education can and must respond to the challenges of our day in ways that respect and nurture all members of the human family. The contributors use this report as a framework to explore the implications and complexities that it raises. The book begins with analytical reflections on the report and then explores pedagogical case studies and practical models of music education that address social justice, inclusion, individual nurturance, and active involvement in the greater public welfare. The collection concludes by looking to the future, asking what more should be considered, and exploring how these ideals can be even more fully realized. This volume boldly expands the boundaries of the UNESCO report to reveal new ways to think about, be invested in, and use music education as a center for social change both today and going forward.
Captures the multiple voices of Christian theology in a diverse and interconnected world through in-depth studies of representative figures and overviews of key movements Providing an unparalleled overview of the subject, The Modern Theologians provides an indispensable guide to the diverse approaches and perspectives within Christian theology from the early twentieth century to the present. Each chapter is written by a leading scholar and explores the development and trajectory of modern theology while presenting critical accounts of a broad range of relevant topics and representative thinkers. The fourth edition of The Modern Theologians is fully updated to provide readers with a clear picture of the broad spectrum and core concerns of modern Christian theology worldwide. It offers new perspectives on key twentieth-century figures and movements from different geographical and ecclesial contexts. There are expanded sections on theological dialogue with non-Christian traditions, and on Christian theology's engagement with the arts and sciences. A new section explores theological responses to urgent global challenges - such as nationalism, racism, and the environmental crisis. Providing the next generation of theologians with the tools needed to take theological conversations forward, The Modern Theologians: Explores Christian theology's engagement with multiple ways of knowing across diverse approaches and traditions Combines introductions to key modern theologians and coverage of the major movements within contemporary theology Identifies common dynamics found across theologies to enable cross-contextual comparisons Positions individual theologians in geographical regions, trans-local movements, and ecclesial contexts Features new and revised chapters written by experts in particular movements, topics, and individuals Providing in-depth critical evaluation and extensive references to further readings and research, Ford's The Modern Theologians: An Introduction to Christian Theology since 1918, Fourth Edition, remains an ideal textbook for undergraduate and graduate courses in Theology and Religious Studies, such as Introduction to Christian Theology, Systematic Theology, Modern Theology, and Modern Theologians. It is also an invaluable resource for researchers, those involved in various forms of Christian ministry, teachers of religious studies, and general readers engaged in independent study.