I am preparing a sermon series on Psalm 119. And it's tougher than it looks!
Psalm 119: The Inexhaustible Word
119:9-16 The Word that Delights
119:90-96 The Word that Preserves
119:105-112 The Word that Guides
Pretty dull, huh?
any help?
Friday, October 30, 2009
Monday, October 26, 2009
On Suffering
Three friends of mine, Noel Debien, David Hohne, Andrew Sloane, speak on theodicy on the ABC, along with Carolyn Martin.
Saturday, October 24, 2009
On Theological Idiosyncrasies
I am a Protestant. In principle and in practice, I am committed to the authority of scripture - wherever that may take me. That means living with some doctrinal and hermeneutical difficulties, perhaps - but there is a humility in saying that no system or institution is paramount here. In principle, I am open to being convinced that the Bible is saying something other than what I - and perhaps even a large swathe of Christians through history - thought it always had.
The christian academic/theologian is given the gift of time by the church - time to think and write and articulate the great truths of the Christian faith. Necessarily, he or she is given a certain freedom of inquiry - to follow where the scriptures may lead as much as possible without fear or favour. But he/she also exists and teaches within a community of context, to which he/she is responsible, and for whom practices and confessions have been framed in order to preserve true teaching from false.
So: consider this possibility: the theologian/biblical scholar becomes convinced in the course of his/her study that Scripture teaches something that doesn't seem to be reflected in the teaching and practices of the church to which he or she belongs. Romans 7 is really about the pre-Christian life (for example). Or, say, annihilationism is theologically and scripturally justified. Or, the Lord's Supper is a fellowship tea. (NB these are not necessarily positions I hold).
What, then to do?
I would like to think that a Protestant and Reformed mentality allows for the discussion of idiosyncratic positions, so long as there are held to be Scriptural. But (I this is the point of the post) they ought to be recognised as idiosyncratic by the holder of them. The teacher of an idiosyncratic point of view ought to have the integrity to admit to the idiosyncratic and untested nature of the position, until he or she can convince others.
Right?
The christian academic/theologian is given the gift of time by the church - time to think and write and articulate the great truths of the Christian faith. Necessarily, he or she is given a certain freedom of inquiry - to follow where the scriptures may lead as much as possible without fear or favour. But he/she also exists and teaches within a community of context, to which he/she is responsible, and for whom practices and confessions have been framed in order to preserve true teaching from false.
So: consider this possibility: the theologian/biblical scholar becomes convinced in the course of his/her study that Scripture teaches something that doesn't seem to be reflected in the teaching and practices of the church to which he or she belongs. Romans 7 is really about the pre-Christian life (for example). Or, say, annihilationism is theologically and scripturally justified. Or, the Lord's Supper is a fellowship tea. (NB these are not necessarily positions I hold).
What, then to do?
I would like to think that a Protestant and Reformed mentality allows for the discussion of idiosyncratic positions, so long as there are held to be Scriptural. But (I this is the point of the post) they ought to be recognised as idiosyncratic by the holder of them. The teacher of an idiosyncratic point of view ought to have the integrity to admit to the idiosyncratic and untested nature of the position, until he or she can convince others.
Right?
Wednesday, October 21, 2009
Music in Church in the 21st Century: part 2 - 'if music be the food of love...'
In my previous post, I put forward the tentative thesis, disguised as someone else's, that 'folk' music was the best way to describe the form of music that ought to be found in churches. It is a particular expression of a theology of church of course. It is missional, in that adapts to local conditions; it is non-elite, in that it is accessible by the community without asking extraordinary skill or learning (thus reflecting the priesthood of all believers); it is open to being sanctified for its use by the Christian community.
Necessarily, some forms of music are going to be excluded from this because they are not aesthetically shaped to the purpose of singing together to God. While no particular form of music is commanded or sanctified in scripture, as we try to adapt different forms of music to use in Christian fellowship as expressions of common life we will soon realise that some styles are just so ill-suited they will never work.
In each age, certain musical styles offer themselves in different ways for adaption for use in church meetings. The traditional tunes that we find used in 'Be Thou My Vision' or 'A Mighty Fortress is Our God' are already deeply embedded in the history and culture of the community from which they emerged as an expression of commonality - the pride and security of togetherness is the note they immediately sound. These features really work for church music because of the overlap - Christians want to express precisely those feelings and truths about their God. The return of Celtic-sounding melodies in the music of Townend and Getty works because we associate that style of music with rousing fellow-feeling. If anything, the danger is that it is a little militaristic - they all sound like national anthems in the end!
In our day, the popular song is the form that we find ourselves most aping in our church music. The popular song is nicely fit for purpose when it comes to church music, too - but in a different way. I would want to argue that popular songs of the 20th century are all about love and desire. When we hear a popular song, we immediately associate it with this erotic theme. The singer is an individual singing about his or her longing or loss. That's the genre: when the Beatles play around with this genre and singing about Walruses and whathaveyou, we recognise that this stretching of the genre is taking place, and ride with it. The music of U2 is an interesting case of course: they express desire and love, but most often it isn't for another human being. It is often suggestive of a desire for God....
And this is quite apt. The Psalms give us this theme of longing and desire for God. We Christians recognise that the popular song is a ready-made vehicle for the expression of longing and desire for God, because we instantly think of this when we hear it.
However, this is where the pitfalls lie, too. Since the 1930s the popular song has revealed itself to be capable of quite complex and even profound expressions of grown-up and mature emotions. But it has also been the musical vehicle for short-cuts to emotional fruition. It has lent itself to cheesiness - to the trite, the cheap, the quick, and the disposable. It has a tendency to be an adolescent form of music for expressing adolescent experiences - challenging no-one about anything. It can be extremely limited as a mode.
And while the popular song expresses much of what we might want to say to God, it doesn't capture all of the gestures and attitudes that are available to us...
Necessarily, some forms of music are going to be excluded from this because they are not aesthetically shaped to the purpose of singing together to God. While no particular form of music is commanded or sanctified in scripture, as we try to adapt different forms of music to use in Christian fellowship as expressions of common life we will soon realise that some styles are just so ill-suited they will never work.
In each age, certain musical styles offer themselves in different ways for adaption for use in church meetings. The traditional tunes that we find used in 'Be Thou My Vision' or 'A Mighty Fortress is Our God' are already deeply embedded in the history and culture of the community from which they emerged as an expression of commonality - the pride and security of togetherness is the note they immediately sound. These features really work for church music because of the overlap - Christians want to express precisely those feelings and truths about their God. The return of Celtic-sounding melodies in the music of Townend and Getty works because we associate that style of music with rousing fellow-feeling. If anything, the danger is that it is a little militaristic - they all sound like national anthems in the end!
In our day, the popular song is the form that we find ourselves most aping in our church music. The popular song is nicely fit for purpose when it comes to church music, too - but in a different way. I would want to argue that popular songs of the 20th century are all about love and desire. When we hear a popular song, we immediately associate it with this erotic theme. The singer is an individual singing about his or her longing or loss. That's the genre: when the Beatles play around with this genre and singing about Walruses and whathaveyou, we recognise that this stretching of the genre is taking place, and ride with it. The music of U2 is an interesting case of course: they express desire and love, but most often it isn't for another human being. It is often suggestive of a desire for God....
And this is quite apt. The Psalms give us this theme of longing and desire for God. We Christians recognise that the popular song is a ready-made vehicle for the expression of longing and desire for God, because we instantly think of this when we hear it.
However, this is where the pitfalls lie, too. Since the 1930s the popular song has revealed itself to be capable of quite complex and even profound expressions of grown-up and mature emotions. But it has also been the musical vehicle for short-cuts to emotional fruition. It has lent itself to cheesiness - to the trite, the cheap, the quick, and the disposable. It has a tendency to be an adolescent form of music for expressing adolescent experiences - challenging no-one about anything. It can be extremely limited as a mode.
And while the popular song expresses much of what we might want to say to God, it doesn't capture all of the gestures and attitudes that are available to us...
Monday, October 19, 2009
Music in Church in the 21st Century: my paper for TWIST
This Saturday I will be giving a seminar at TWIST, EMU Music's conference to be held at Angel Place in the city.
Here's my blurb:
And here's my thinking in draft form: churches have on the whole moved beyond the sacred/secular divide when it comes to styles of music. This means they have become 'post-aesthetic' - which means that they have decided that the style of music is only incidental to the business of singing in church.
Nowadays, most evangelical churches imagine themselves choosing a style of music on the basis of its cultural relevance. The right style of music, then, is the style that clicks best with the congregation of the day. Or something like that.
There are good theological instincts at work here. The Bible does not mandate a style of music, though it talks about music often and is operatically full of songs. People in the Bible are constantly singing! What is more, we recognise that the gospel does not come to us bound hard to a particular cultural expression - in fact, the missionary genius of Christianity is that it transcends cultural expressions. Church singing in Africa and church singing in Indonesia are going to be different - thank goodness.
Furthermore, a healthy doctrine of creation and a cursory glance at church history will show us that the church adapts forms of music to its uses rather than needing to invent them from scratch. So: today's beer hall song is tomorrow's Lutheran hymn; that familiar sea-shanty will be turned to use in the Methodist chapel. The creative process of course involves borrowing from the world around us.
But does this mean that church musicians are aesthetic relativists? I don't think it can mean this. We don't want to offer short-cuts here - ie, that the organ is a more sacred instrument than the electric guitar. That is just silly. No: what I mean is this. Without prescribing what the outcome is, I would expect that as music is pressed into the service of congregational singing and worship of God, it will be transformed as music. And this means that the church will continually be generating fresh styles as it puts the music it hears to holy purposes.
Which means that, while church musicians ought to be open to repeating what they hear around them, they ought also to be encouraged to innovate and develop their musical style as a reflection of what they are doing. Borrowing and transforming is one thing; aping is another.
How might this work out in practice? A preacher I greatly admire once said to me when I put the relativist/pragmatic argument forward that no, there was definitely a style for church music. He said it was 'folk music'. Now, I think there is something in this - though I am not quite sure what he meant by 'folk'! That is, a style of music that achieves a marriage between the words of praise and the use in congregational singing can never be arbitrary, though it may vary enormously over time and place. It will be 'folk', I guess, if it is in the service of the people. And it is no accident that Christians have been responsible for developing some highly original forms of music from asking 'what musical style best serves and edifies the people of God?' and 'what musical style best correlates with the words of scripture?'
Here's my blurb:
The influence of popular music since the invention of mass recording is inescapable, even in the church. But has it always been for the good? Are there forms of music that are by their nature unsuitable for use in singing the praises of God? Should the church just make use of whatever it finds in the culture around it? (Have you noticed that church music now sounds like Coldplay?) Can, and should, new forms of music emerge from the corporate worship of the church? How will good theology influence music itself (and not just the words)? This seminar asks probing theological questions about the relationship between sacred and secular, traditional and hip.
And here's my thinking in draft form: churches have on the whole moved beyond the sacred/secular divide when it comes to styles of music. This means they have become 'post-aesthetic' - which means that they have decided that the style of music is only incidental to the business of singing in church.
Nowadays, most evangelical churches imagine themselves choosing a style of music on the basis of its cultural relevance. The right style of music, then, is the style that clicks best with the congregation of the day. Or something like that.
There are good theological instincts at work here. The Bible does not mandate a style of music, though it talks about music often and is operatically full of songs. People in the Bible are constantly singing! What is more, we recognise that the gospel does not come to us bound hard to a particular cultural expression - in fact, the missionary genius of Christianity is that it transcends cultural expressions. Church singing in Africa and church singing in Indonesia are going to be different - thank goodness.
Furthermore, a healthy doctrine of creation and a cursory glance at church history will show us that the church adapts forms of music to its uses rather than needing to invent them from scratch. So: today's beer hall song is tomorrow's Lutheran hymn; that familiar sea-shanty will be turned to use in the Methodist chapel. The creative process of course involves borrowing from the world around us.
But does this mean that church musicians are aesthetic relativists? I don't think it can mean this. We don't want to offer short-cuts here - ie, that the organ is a more sacred instrument than the electric guitar. That is just silly. No: what I mean is this. Without prescribing what the outcome is, I would expect that as music is pressed into the service of congregational singing and worship of God, it will be transformed as music. And this means that the church will continually be generating fresh styles as it puts the music it hears to holy purposes.
Which means that, while church musicians ought to be open to repeating what they hear around them, they ought also to be encouraged to innovate and develop their musical style as a reflection of what they are doing. Borrowing and transforming is one thing; aping is another.
How might this work out in practice? A preacher I greatly admire once said to me when I put the relativist/pragmatic argument forward that no, there was definitely a style for church music. He said it was 'folk music'. Now, I think there is something in this - though I am not quite sure what he meant by 'folk'! That is, a style of music that achieves a marriage between the words of praise and the use in congregational singing can never be arbitrary, though it may vary enormously over time and place. It will be 'folk', I guess, if it is in the service of the people. And it is no accident that Christians have been responsible for developing some highly original forms of music from asking 'what musical style best serves and edifies the people of God?' and 'what musical style best correlates with the words of scripture?'
Friday, October 16, 2009
Why the Philosophy of Education?
Well thanks to thoe who helped me with texts on Education.
Why was I asking? Part of working in a denominational seminary as a theologian is being available to help the denomination think theologically about some of its practices. I have had some involvement in a project on 'community' for Anglicare, the Anglican church's vast welfare arm.
One of other things we are involved in a major way of course is education. We have, in Sydney, 40 or more schools, many of which are less than 20 years old. Some of them are what you would call 'elite' private schools, but many of them are low fee-paying schools in the less-advantaged western suburbs of Sydney.
But there is no consistent thinking about what it means to be a Anglican educational institution. Or, at least, such thinking as there is is quite ad hoc. The 'Christian' component gets tacked on somewhat, by having chapel services or some such. I would guess that little sustained thought goes into thinking through the implications of theology for the curriculum, or the practice of discipline, for example. Or, to what degree do schools foster social inclusiveness.
On the other hand, the Christian schools model, insofar as it promotes a sectarian view of knowledge and of the Christian community, is not the way forward either. Furthermore, taking models from the US and trying to replicate them in Australia ignores the massive cultural and historical differences between us on the very issue of education. So - I will read Doug Wilson, for sure: he is ALWAYS interesting, perceptive, funny and ... well, eccentric. But what works in remote Idaho in the political context of Obama's America is not automatically transferrable to Oz.
So, what is needed is a bit of theological thinking about education which will help educational practioners do their job to the glory of God.
Thoughts anyone?
Why was I asking? Part of working in a denominational seminary as a theologian is being available to help the denomination think theologically about some of its practices. I have had some involvement in a project on 'community' for Anglicare, the Anglican church's vast welfare arm.
One of other things we are involved in a major way of course is education. We have, in Sydney, 40 or more schools, many of which are less than 20 years old. Some of them are what you would call 'elite' private schools, but many of them are low fee-paying schools in the less-advantaged western suburbs of Sydney.
But there is no consistent thinking about what it means to be a Anglican educational institution. Or, at least, such thinking as there is is quite ad hoc. The 'Christian' component gets tacked on somewhat, by having chapel services or some such. I would guess that little sustained thought goes into thinking through the implications of theology for the curriculum, or the practice of discipline, for example. Or, to what degree do schools foster social inclusiveness.
On the other hand, the Christian schools model, insofar as it promotes a sectarian view of knowledge and of the Christian community, is not the way forward either. Furthermore, taking models from the US and trying to replicate them in Australia ignores the massive cultural and historical differences between us on the very issue of education. So - I will read Doug Wilson, for sure: he is ALWAYS interesting, perceptive, funny and ... well, eccentric. But what works in remote Idaho in the political context of Obama's America is not automatically transferrable to Oz.
So, what is needed is a bit of theological thinking about education which will help educational practioners do their job to the glory of God.
Thoughts anyone?
Wednesday, October 14, 2009
Theory of Education
Help me -
I need to compile a must-read reading list in the theory and philosophy of education. It ought to include classics as well as state-of-the-art works. And I am not interested in the tin-tacks of teaching: I need to get over education as a philosophy.
Any ideas?
I need to compile a must-read reading list in the theory and philosophy of education. It ought to include classics as well as state-of-the-art works. And I am not interested in the tin-tacks of teaching: I need to get over education as a philosophy.
Any ideas?
Friday, October 09, 2009
Doubt - your experiences?
I am conducting some research into why Christians - and ex-Christians - doubt. And what helped them through it, if anything did. I'd love to have some personal testimonies here ... though doubt has some features that are common in every experience, because it is so personal doubt is very different for different folks. Things one person just lives with, the next person finds crippling.
Please feel to go anonymous if that helps.
Please feel to go anonymous if that helps.
Monday, October 05, 2009
My article on Christopher Hitchens at the SMH
It's on the online opinion section (not the print bit). It isn't a knock down or anything, but...
Feel free to join the discussion there!
Feel free to join the discussion there!
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