Music Styles and Christian Snobbery

This quote is from David Peterson, author of the wonderful book Engaging With God. The quote is transcribed from a lecture on musical styles and the church at Southern Baptist Theological Seminary.

We all know that music is a great encouragement to snobbery. You can either be a classical snob, or a rock snob, or a folky snob. Basically, what we do with our music is we say, "I love this kind of music; this is what really excites me, and I can't bear that other stuff. I am not going to listen to your stuff."

The sad thing is that Christians fall into this same worldly trap. We become so familiar with and comfortable with our particular styles of music that we end up saying, maybe overtly sometimes, "I am not willing to listen to your kind of music. I am not willing to sing one of your silly songs." We get even more intense than that. We say, "Your music is not true worship. Your music is not honoring to God."

This is one of those areas where Christians feel at liberty to be quite unrestrained and quite ungodly in the way in which we position ourselves and talk to one another when it comes to music. So if music is going to be a meaningful and effective part of our church life, we need to submit it to the Scriptures. We need to apply the Scriptures in a very rigorous fashion from the pulpit about this subject. It is not just something for musicians to consider. I believe that as pastors of churches and as theological teachers, we have a responsibility to bring this, as with everything else, under the Word of God.

The Power of the Pentatonic Scale

Bobby McFerrin demonstrates the power of the pentatonic scale, using audience participation, at the event "Notes & Neurons: In Search of the Common Chorus", from the 2009 World Science Festival, June 12, 2009.

Publish Post

Help My Unbelief, Part 3

Tattoos usually don't move me but somehow this one did.

A constant and consistent prayer for this person and for me.

It's Like a Heatwave Burning in My Heart

Not quite...but our air conditioner did break down today.

Oi! It's not going to be a pleasant sleep tonight.

Don't Slack Off

Don't slack off seeking, striving, and praying for the very same things that we exhort unconverted people to strive for, and a degree of which you have had in conversion. Thus pray that your eyes may be opened, that you may receive sight, that you may know your self and be brought to God’s feet, and that you may see the glory of God and Christ, may be raised from the dead, and have the love of Christ shed abroad in your heart. Those that have most of these things still need to pray for them; for there so much blindness and hardness and pride and death remaining that they still need to have that work of God upon them, further to enlighten and enliven them. This will be a further bringing out of darkness into God's marvelous light, and a kind of new conversion.

Jonathan Edwards, Advice to Young Converts.

Mistakes and Corporate Worship

"The church has spent so much time inculcating in us the fear of making mistakes that she has made us like ill-taught piano students; we play our songs but we never really hear them because our main concern is not to make music, but to avoid some flub that will get us in dutch...I have now heard the strains of grace, and I grieve for my friends who have not".

Philip Yancey, What's So Amazing About Grace?

Babette's Feast and the Foretaste of Heaven

The following is an excerpt of a review of Babette's Feast (one of my favorites films for its themes of redemption and trasncedence) by Thomas S. Hibbs. Read on and be sure to check out this great Danish film.

Babette’s Feast (is) a story of the sacramental celebration of sensible delight and communal reconciliation as a sign of the heavenly banquet (Luke 14:23 and Matthew 22:1-10). Set in Denmark amid a small, austere community of Protestant Christians, united in their devotion to their founding pastor, whom they honor as “priest and prophet,” the film focuses on the founder’s beautiful daughters, Martine and Filippa. Named after the great reformers Martin Luther and Philipp Melanchthon, the daughters early on attract the attention of worthy suitors. Neither daughter is capable of freeing herself from her father and the community he has established. One of Martine’s suitors, Lorens Löwenhielm, leaves disappointed; learning from this religious family that “earthly love and marriage” are mere illusions, he vows to devote himself to his career and becomes a decorated general. Another, Achille Papin, a famous Parisian opera singer, discovers a great musical talent in Filippa, but he too is rebuffed.

Later, as war envelops Paris and families are torn asunder, Papin sends a friend, Babette, to live with the family he still admires. A devastated Babette, who has endured the murder of her family, begins work as a cook, preparing the simple meals the sisters insist upon eating. A series of fortuitous events make it possible for Babette to prepare a feast for the entire community. The sisters wish to commemorate the anniversary of their father’s founding of their religious community, a community lately afflicted by “testy and querulous” disagreements. What they have in mind is a “modest supper followed by a cup of coffee.” Plans change, however, when Babette wins the French lottery and has 10,000 francs at her disposal. She persuades the sisters to let her prepare a French feast. In a humorous set of scenes, wine and live sea turtles arrive; the sisters suffer nightmares and confess to their religious brethren that they may have “exposed” everyone to “evil powers” and a “witches’ Sabbath.”

It looks at this point as if the stage is set for an evening of quiet misunderstanding, an evening in which the splendors of the senses will be wasted on a community that identifies religious asceticism with a state of disembodied detachment. But another chance event, the last-minute arrival in town of General Löwenhielm alters the chemistry of the meal. His presence means not only that there will be twelve at the meal but also that a person of cultivation will enjoy, and comment on, Babette’s feast.

The general is the first to sense the transforming effects of the feast, as he marvels at the quality of the food and the wine. Here the meal is an occasion for the most human and most philosophical of passions: wonder. The dinner is at first characterized by comic incongruity between the general’s comments and the non sequitur responses from the other members of the dinner party. At one point, a woman, who had earlier described the human tongue as a source of “unleashed evil,” sips her wine as she speaks innocently of how much she is enjoying the “lemonade.”

The film completely transcends our popular way of framing the debate over appetite, which pits a repressive Puritanism against a celebration of the indulgence of untutored desire. If the religious views of this community are in many ways shallow and repressive, the film’s corrective consists not in a repudiation of religion as oppressive. Instead, the film makes clear that bodily goods and sensible pleasures can be vehicles for the manifestation of grace, occasions of communal transformation. The feast achieves what the sisters’ attempts at moral and religious reform could not; it brings about reconciliation as warm memories of the departed founder flow forth in speeches from those assembled.

As the general recounts famous meals at the Parisian restaurant, Café Anglais, where the renowned chef was a woman (Babette, of course!) with a gift for transforming dinner into a love affair that weds spiritual and bodily appetite, he offers an education in the way sensible things can be vehicles of spiritual realities and meals can be foretastes of heaven. If his words are lost on his dining companions, they need not be on us. Viewing this film...provides a glimpse of the remarkable scope of the drama of redemption and of the way in which art, like food, can be a vehicle for the expression of the most profound of spiritual realities.