Music does not make itself. It is made by people: professionals and amateurs, singers and instrumentalists, composers and publishers, performers and audiences, entrepreneurs and consumers. In turn, making music shapes those who make it-spiritually, emotionally, physically, mentally, socially, politically, economically-for good or ill, harming and healing. This volume considers the social practice of music from a Christian point of view. Using a variety of methodological perspectives, the essays explore the ethical and doctrinal implications of music-making. The reflections are grouped according to the traditional threefold ministry of Christ: prophet, priest, and shepherd: the prophetic role of music, as a means of articulating protest against injustice, offering consolation, and embodying a harmonious order; the pastoral role of music: creating and sustaining community, building peace, fostering harmony with the whole of creation; and the priestly role of music: in service of reconciliation and restoration, for individuals and communities, offering prayers of praise and intercession to God. Using music in priestly, prophetic, and pastoral ways, Christians pray for and rehearse the coming of God's kingdom-whether in formal worship, social protest, concert performance, interfaith sharing, or peacebuilding. Whereas temperance was of prime importance in relation to the ethics of music from antiquity to the early modern period, justice has become central to contemporary debates. This book seeks to contribute to those debates by means of Christian theological reflection on a wide range of musics: including monastic chant, death metal, protest songs, psalms and worship music, punk rock, musical drama, interfaith choral singing, Sting, and Daft Punk.

Music does not make itself. It is made by people: professionals and amateurs, singers and instrumentalists, composers and publishers, performers and audiences, entrepreneurs and consumers. In turn, making music shapes those who make it-spiritually, emotionally, physically, mentally, socially, politically, economically-for good or ill, harming and healing. This volume considers the social practice of music from a Christian point of view. Using a variety of methodological perspectives, the essays explore the ethical and doctrinal implications of music-making. The reflections are grouped according to the traditional threefold ministry of Christ: prophet, priest, and shepherd: the prophetic role of music, as a means of articulating protest against injustice, offering consolation, and embodying a harmonious order; the pastoral role of music: creating and sustaining community, building peace, fostering harmony with the whole of creation; and the priestly role of music: in service of reconciliation and restoration, for individuals and communities, offering prayers of praise and intercession to God. Using music in priestly, prophetic, and pastoral ways, Christians pray for and rehearse the coming of God's kingdom-whether in formal worship, social protest, concert performance, interfaith sharing, or peacebuilding. Whereas temperance was of prime importance in relation to the ethics of music from antiquity to the early modern period, justice has become central to contemporary debates. This book seeks to contribute to those debates by means of Christian theological reflection on a wide range of musics: including monastic chant, death metal, protest songs, psalms and worship music, punk rock, musical drama, interfaith choral singing, Sting, and Daft Punk.

As a troubadour for global music and an instigator of cross-cultural worship for more than 15 years in a variety of denominational settings, including congregational, national, and international venues, Michael Hawn has observed many faithful people who find that a taste of Pentecost in worship is refreshing and invigorating. In One Bread, One Body: Exploring Cultural Diversity in Worship, Hawn seeks to help bridge the gap between the human tendency to prefer ethnic and cultural homogeneity in worship and the church's mandate to offer a more diverse and inclusive experience. He offers a rainbow vision of the universal church where young and old joyfully and thoughtfully respond to the movement of God's Spirit in multicultural worship. Hawn and four colleagues from Perkins School of Theology in Dallas formed a diverse team in ethnicity, gender, academic field of study, and denominational affiliation to study four United Methodist congregations in the Dallas area that are grappling with cross-cultural ministry. Their four case studies illustrate both the pain and the possibilities encountered in capturing the Spirit of Pentecost in worship. Hawn also offers a concise and practical theological framework as well as numerous strategies and an extensive bibliography for implementing "culturally conscious worship." This book is invaluable for congregations that want to undertake the hard work of cross-cultural worship.

These are hymns for twenty-first century Christians whose lives are frantic, whose future seems uncertain, and whose choices are complicated. Today's singers may take refuge in the beautiful simplicity of uncluttered language and draw inspiration from musical settings that are both current and accessible.