Music And Faith

"Christian musicians know of the obligation to make music as agents of God's grace. They make music graciously, whatever its kind or style, as ambassadors of Christ, showing love, humility, servanthood, meekness, victory, and good example . . . Music is freely made, by faith, as an act of worship, in direct response to the overflowing grace of God in Christ Jesus." Co-sponsored by the Christian College Coalition, this thought-provoking study of music-as-worship leads both students and experienced musicians to a better understanding of the connections between music making and Christian faith. "Christian music makers have to risk new ways of praising God. Their faith must convince them that however strange a new offering may be, it cannot out-reach, out-imagine, or overwhelm God. God remains God, ready to swoop down in the most wonderful way, amidst all of the flurry and mystery of newness and repetition, to touch souls and hearts, all because faith has been exercised and Christ's ways have been imitated. Meanwhile, a thousand tongues will never be enough." Best relates musical practice to a larger theology of creation and creativity, and explores new concepts of musical quality and excellence, musical unity, and the incorporation of music from other cultures into today's music.

This book is a study of music inculturation in Indonesia. It shows how religious expression can be made relevant in an indigenous context and how grassroots Christianity is being realized by means of music. Through the discussion of indigenous expressions of Christianity, the book presents multiple ways in which Indonesians reiterate their identity through music by creatively forging Christian and indigenous elements. This study moves beyond the discussion (and charge) of syncretism, showing that the inclusion of local cultural manifestations is an answer to creating a truly indigenous Christian expression. Marzanna Poplawska, while telling the story of Indonesian Christians and the multiple ways in which they live Christianity through music, emphasizes the creative energy and agency of local people. In their practices she finds optimism for the continuing existence of many traditional genres and styles. Indonesian Christians perform their Christian faith through music, dance, and theater, generating innovative cultural products that enrich the global Christian heritage. The book is addressed to a broad spectrum of readers: scholars from a variety of disciplines – music, religion, anthropology, especially those interested in interactions between Christianity and indigenous cultures; general music lovers and World Music enthusiasts eager to discover musics outside of European realm; as well as Christian believers, church musicians, and choir directors curious to learn about Christian music beyond Euro-American context. Students of religion, sacred music, (ethno)musicology, theater, and dance will also benefit from learning about a variety of indigenous arts employed in Christian churches in Indonesia.

How do contemporary audiences engage with sacred music and what are its effects?

Music, Education, and Religion: Intersections and Entanglements explores the critical role that religion can play in formal and informal music education. As in broader educational studies, research in music education has tended to sidestep the religious dimensions of teaching and learning, often reflecting common assumptions of secularity in contemporary schooling in many parts of the world. This book considers the ways in which the forces of religion and belief construct and complicate the values and practices of music education—including teacher education, curriculum texts, and teaching repertoires. The contributors to this volume embrace a range of perspectives from a variety of disciplines, examining religious, agnostic, skeptical, and atheistic points of view. Music, Education, and Religion is a valuable resource for all music teachers and scholars in related fields, interrogating the sociocultural and epistemological underpinnings of music repertoires and global educational practices.

How do contemporary audiences engage with sacred music and what are its effects?

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.

The author is concerned with the intrinsicality of appropriate music in the Christian context.

Seven years in development, Singing the Faith is authorised by the Methodist Conference and replaces Hymns and Psalms, published almost 30 years ago. Containing the classic, best loved hymns of the Christian tradition it also incorporates many bold and exciting elements including hymns, songs and liturgical chants from the world church.