Metacommunication, Metalanguage, and
Paralanguage’s Connection to Musicing-Part 3
Now we should consider the term metalanguage
as it relates to understandable meaning that is communicated through
musicing. In the world of gaming, meta
is used in two ways. Meta can be used as an acronym for “most effective tactics
available,” and calling something meta means that it's an effective way to
achieve the goal of musicing. The term meta is
used in two ways. One way to consider meta-language
is to understand it to be the language used to talk about something else. So, when these two terms are applied to the
whole of music and musicing, they form a terminology to explain how music
communicates something to the hearer. I
have often stated that a meta-language is a language which is beyond a written
language in that it is capable to bypass the constraints of language and speak
directly to the hearer or performer’s emotions.
Sacred music should be Word
driven but it is also emotive. Some
philosophers believe that emotions are aroused by triggers and that emotions
are able to be triggered because of past experiences. This makes the listener of religious music
vulnerable to his or her past experiences with music—including both secular and
sacred music. This causes triggered experiences
to be associative. So, it is not a far-fetched
notion that when some styles of music are fused into religious music, they are
inappropriate by association.
If one considers a style of music
to be “meta” then it must be the “most
effective tactic available” to represent the moral nature of God, the
communication of the Gospel. It must
also be the highest quality of musical offering that the musicer is capable of
presenting to God. Being a conservative Christian
requires a separation from the “rudiments of this world”. Being separate and coming out from among the
way that the world orders things, should also include how we music unto God in
his house.
No comments:
Post a Comment