Much
of music’s meaning is expressed through these formal properties, but they are
not the only part of a music that expresses meaning. Other factors like context, community,
previous musical experiences, aesthetic qualities, text, and associations all
have an effect on the music’s communicated meaning which is both embodied and
designated.
What
these factors mentioned above represent and communicate will definitely affect
the whole-life of the performer and the auditor. Therefore, understanding music’s communicated
meaning becomes a very complex phenomenon.
Ephesians 2:2 reminds us that, “Wherein in times past ye walked
according to the course [aion 165] of this world [kosmos 2889], according to
the prince of the power of the air, the spirit that now worketh in the children
of disobedience.” Based on the import of
this Scripture a Christian music philosopher does not need to build his or her own
conspiracy theory because the bible has already constructed one for us. The system of this present evil universe in
which we live has its own course and this course includes music!
This
Scripture passage is a plea to Christians, who once followed the course [aion]
of the system of this world [kosmos], to no longer follow the system of the
“prince of the power of the air” who is without doubt Satan. The system of Satan in this present age is
circumambient—it is everywhere. To deny
the circumambiency of Satan’s system and to deny that it include music, and its
designated and embodied meaning, is certainly short sighted on the part of
Christian musicians. If the Christian
musician believes this Scripture that states emphatically that Satan’s system is
circumambient and therefore encompasses the air [aer 109], then that musician
should also believe that it permeates every area of life around us that is not
protected by the Holy Spirit. I find no
logical argument that religious music escapes this influence.
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