My goal in this series is to help believers apply the Bible to their musical choices in life and worship. My contention is, however, that believers today approach the issue of musical choices with certain errant foundational presuppositions that need to be corrected before they can rightly apply the Bible in this area. So my task in this paper is to address a few categories of thought that inform our approach when applying the Bible to music and suggest a few ways that we may need to correct our thinking.
The nature of Pop
People are drawn to Dionysian art because it creates enjoyable physical feelings that are immediate. No work or effort is required to enjoy the feeling. No mental or spiritual engagement is necessary. It is immediate because it is shallow; it has no depth. However, because of the inherent shallowness of the medium, greater doses are needed to create the same effects as a person becomes more desensitized. Therefore, Dionysian art is intrinsically addictive.
With the creation of mass media as a result of the Industrial Revolution, savvy businessmen soon saw the potential of taking advantage of the power of Dionysian music in order to make money. Certain music, for instance, because it created immediate results and was intrinsically addictive, provided the perfect medium for making a considerable amount of money. They found that it was not difficult to hook the masses on Dionysian forms of music. Then, when the masses inevitably desensitized themselves to the immediate affects of such music, the entrepreneurs were always ready with more novelty and more stimulating forms. Such was the birth of pop music.
Kenneth Myers, in his very influential book, All God’s Children and Blue Suede Shoes, provides a very helpful description of the nature of pop music, including a table that compares pop culture to traditional folk or high culture. In essence, this chart compares Dionysian and Appollonian forms of art:
Table 1:
Myers’ Comparison of Popular Culture with Traditional/High Culture1
| Popular Culture | Traditional and High Culture |
| Focuses on the new | Focuses on the timeless |
| Discourages reflection | Encoruages reflection |
| Prusued casually to “kill time” | Pursued with deliberation |
| Gives us what we want, tells us what we already know |
Offers us what we could not have imagined |
| Relies on instant accessibility; encourages impatience |
Requires training; encourages patience |
| Emphasizes information and trivia | Emphasizes knowledge and wisdom |
| Encourages quantitative concerns | Encourages qualitative concerns |
| Celebrates fame | Celebrates ability |
| Appeals to sentimentality | Appeals to appropriate, proportioned emotions |
| Context and form governed by requirements of the market |
Content and form governed by requirements of created order |
| Formulas are the substancw | Formulas are the tools |
| Relies on spectacle, tending to violence and prurience |
Relies on formal dynamics and the power of symbols (including language) |
| Aesthetic power in reminding of something else |
Aesthetic power in instrisic attributes |
| Individualistic | Communal |
| Leaves us where it found us | Transforms sensibilities |
| Incapable of deep or sustained attention |
Capable of repeated, careful attention |
| Lacks ambiguity | Allusive, suggests the transcendent |
| No discontinuity between life and art |
Relies on “secondary World” conventions |
| Reflects the desires of the slef | Encourages understanding of others |
| Tends toward relativism | Tends toward submission to standards |
| Used | Received |
Conservatives have done themselves a disservice by defining pop music as sex. Certainly some pop music does express sexual passion, but pop music is a broader category encompassing all Dionysian music. Conservatives often describe pop music by certain musical elements such as back beat, vocal sliding, and breathy singing technique. Certainly music characterized by such elements is most likely Dionysian, but there is a whole lot more music that is Dionysian that does not have those elements. This reductionistic description of pop music by many conservatives, I believe, has led to a rejection of some forms of newer pop music that possess such elements while at the same time grasping onto other forms of pop music that don’t express sexual passion, but nevertheless are emotionally manipulative in other ways.
About Scott Aniol
Scott Aniol is the founder and Executive Director of Religious Affections Ministries. He is director of doctoral worship studies at Southwestern Baptist Theological Seminary, where he teaches courses in ministry, worship, hymnology, aesthetics, culture, and philosophy. He is the author of Worship in Song: A Biblical Approach to Music and Worship, Sound Worship: A Guide to Making Musical Choices in a Noisy World, and By the Waters of Babylon: Worship in a Post-Christian Culture, and speaks around the country in churches and conferences. He is an elder in his church in Fort Worth, TX where he resides with his wife and four children. Views posted here are his own and not necessarily those of his employer.
- Kenneth Myers, All God’s Children and Blue Suede Shoes (Wheaton, IL: Crossway, 1989), 120. [↩]