Don't read it unless you are willing to give a few minutes to it and a few more minutes to thinking about the question. Here is a sample.
In light of the foregoing discussion, both “pop” music and the music of elitist aesthetes are unsuitable for divine worship. The latter, proclaiming art to be “for art’s sake” and for no other purpose, elevates the composer to the level of a “pure creator.” “According to Christian faith, however, it belongs to the essence of human beings that they come from God’s ‘art’. . . and as perceivers can think and view God’s creative ideas with him and translate them into the visible and the audible” (106).There are many questions that surround the issue of music in worship, not the least of which is the question "What does it mean to worship?" Careful reflection about the relaltionship between medium and message is crucial. Simplistic answers based merely on "tastes" one way or the other -- traditionalist or contemporary -- do not serve the Church of the Lord Jesus very well.
On the other hand, hasn’t the Church’s liturgical music always drawn on popular music to renew itself? Isn’t “pop” music just what the Church needs in order to “relate” with contemporary culture? Cardinal Ratzinger recommends “treading carefully” in this area (107-108). In the past folk music was the expression of a clearly defined community held together by language, history and a way of life. Springing from fundamental human experience, it conveyed a truth, however naive the form may have been. Pop music, in contrast, is a standardized product of mass society, a function of supply and demand. The 20 th-century composer Paul Hindemith called the constant presence of such noise “brainwashing,” and C. M. Johansson claims that hearing it gradually makes us incapable of listening attentively: “we become musically comatose. . . . This medium kills the message” (p. 108 cf. footnote 19).
1 comment:
Whatever...
I say, "Rock on!"
Matt
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