[ad_1]
Music has been used to express human emotions and is an integral part of many religious beliefs. Chanting scriptures set to music is common in many religions and can deepen theological meaning. Catholicism has a structured theology of music, while non-liturgical traditions often use popular music to voice concerns and theology. Even secular music can interact with theology, with some believing in a connection between divine and human creative power.
Since before recorded history, music has been used to express humanity’s deepest ideas and emotions. It should come as no surprise that music has become an integral part of nearly every major religious belief system, since both theology and music seek to explore aspects of life that transcend mundane experience. Music is almost always part of the worship structure of both liturgical and non-liturgical traditions, often as canonical texts set to music or other more flexible formats that give insight into popular theology. Theology and music also interact outside religious structures, as seen in the often turbulent relationship between religion and secular music.
A very common form of religious worship is the chanting of scriptures set to music. This can be seen in Jewish prayer services known as nusach, the chanting of sutras in some Buddhist traditions, or any of the psalms sung in Christian worship services. One purpose is educational, as worshipers are more likely to remember something if they sang it. Beyond that, however, setting a text to music can also deepen its theological meaning. The same text set to a different style of music can convey a very different emotion or concept.
Of the Christian traditions, Catholicism has the most structured theology of music, with a number of ecclesiastical documents codifying the purpose of music in worship. In Catholic theology, music is not simply an embellishment of the liturgy, but an integral part of what is known as the “liturgical mystery”. Not only the text, but also the music is predetermined according to the church calendar. According to this view, the liturgy combines text with action, allowing the faithful to participate meaningfully in the service, recalling the life, death and resurrection of Christ. One way to do this is through congregational singing.
There is a less structured connection between theology and music in non-liturgical traditions. Popular music often carries religious themes that voice a particular group’s concerns and theology. African-American spirituals, for example, often speak powerfully about freedom from oppression. Popular religious songs often leave room for improvisation, which its advocates may see as the key to sincere emotion. Critics of this musical style often argue that it sacrifices aesthetic and theological rigor for the sake of spontaneity, but others see its accessibility as playing in its favor.
Even music that doesn’t have an overtly religious meaning can interact with theology. Religious conservatives sometimes argue that some secular music is antithetical to the goals of their faith and that believers should reject music that is not part of their religious tradition. On the other hand, some people believe that there is a connection between divine creative power and human creative power, which sanctifies even secular music. This belief implies a connection between theology and music that goes beyond the intended purpose of a particular piece of music, to comment on the nature of the music itself. Most people, however, fall somewhere between these two extremes.
[ad_2]