As
we mentioned yesterday many branches of absolutist music philosophy believe
that music’s meaning is part of a closed system that does not relate in any way
to life outside of music. Christian
musicians have fallen into this philosophical pit by the thousands in the late
twentieth and early twenty-first centuries. This philosophical viewpoint became
the easy way out of taking the responsibility of discerning just what on earth
the “joyful sound” is philosophically.
This belief became the basis for a musical praxis that released the
Christian musician from the responsibility of knowing if the musical genres
they use in music worship are carnal forms of musicing. Because of this belief their often unwritten
and unspoken thesis became “There is nothing sacred about the music part of
music” i.e. its formal properties do not matter when musicing unto God.
All
a Christian musician has to believe is that in the context of musicing unto God
the music part of music says nothing, represents nothing, means nothing and is
incapable of exerting any positive or negative influence on the performer or
auditor and he or she is free of any philosophical restraint. This lackluster
music philosophy allows the use of a music praxis based on the belief that
“anything goes, anything works, and anything is appropriate” for public or
private worship. P.S. We will Continue with part 11 in a few days.
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