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Witvliet - Beyond Style
Witvliet - Beyond Style
1 I'
THE
CONVICTION
OF THINGS
NOT SEEN
;a
Todd E. Johnson
~.
t
j~ BrazosPress
~ A Division of Baker Book House Co
Grund Rapids, Michigan 49516
66 The Conviction of Things Not Seen
and worship at Willow Creek has been so driven by an advertising model that
it has to some degree compromised the cost of discipleship.
This chapter has surveyed the historical origins of the seeker service. In doing
so, it has shown that this most contemporary liturgical form has validated one
of the more ancient understandings of the church: lex orandi, lex credendi; the
language you use for God will determine the belief you have of God. In this
case, the language used in evangelization and catechesis will in the end deter
mine the language that will be used in worship. The question remaining is one
of priority: Does one use the most effective means of evangelism possible and
4
then create worship that is congruent with this process, or does one have a
liturgical standard in place and evangelize and catechize with language that
leads to that end? This is the question all Christian communities are facing in
Beyond Style
this new millennium: How do we reconnect our rituals?
Rethinking the Role ofMusic in Worship
John D. Witvliet
l'Kpcrienced worship and God's presence for over two thousand years. For many
( 'hrisrians, it would be difficult to imagine worship without music. In some
I Illlrches the music starts when the community gathers and doesn't stop until
J
The Conviction of Things Not Seen Beyond Style 71
70
complex issues, cut off discerning communication, and fail to embody the ers. The goal of this chapter is to propose categories for thinking about the
virtues that are part of the grateful Christian life. valid and healthy use of music in the context of Christian worship, categories
Consider a different vision. Near the opening of the book of Philippians, that are accessible enough to function well in the next worship committee
Paul records his prayer for the Philippian Christians: "And this is my prayer, meeting in most North American congregations. I will introduce these cate
that your love may overflow more and more with knowledge and full insight gories by means ofsix overarching questions that every congregation and every
to help you to determine what is best, so that in the day of Christ you may be church musician might profitably address. These questions are designed to help
pure and blameless, having produced the harvest of righteousness that comes congregations "determine what is best,"
through Jesus Christ for the glory and praise of God" (Phil. 1:9-11, empha Question 1, a theological question: Do we have the imagination and resolve
sis mine). At the heart of this prayer is Paul's desire that his readers will exer to speak and make music in a way that both celebrates and limits the role 0/
cise the virtue ofdiscernment. He wants them to be able to make good choices, music as a conduitfor experiencing God?
to "determine what is best." At a conference some time ago, a pastor stood to advertise a search for a
What does it mean to discern? Discernment is what Solomon asked for when church musician. When asked what kind of person was needed, the pastor
he asked for "an understanding mind ... to discern good from evil." Augus replied in a stammering, stuttering way-the kind ofspeech that tells you the
tine defined it as "love making a right distinction between what helps us move person is probably saying what he or she really thinks rather than giving an
toward God and what might hinder US."5 Discernment requires making choices, edited, politically correct version of the same. The answer came back: "Some
saying "yes" to some things and "no" to others. one who can make God present in my congregation." Now this, to put it mildly,
Paul gives us a short recipe for discernment. Knowledge and insight are two is a rather loaded expectation!6
key ingredients. They provide a measuring stick by which to judge a given Yet, language like this is increasingly present in want ads for parish musi
innovation or practice. To make good choices, we need to ask probing ques cians. Churches are looking for people whose creativity and charismatic per
tions and search for penetrating insight into truth. We need the mind of Christ. sonality can turn an ordinary moment into a holy moment. This tendency is
Another ingredient is love-not a sentimental love that baptizes every fad lIot limited to charismatics. Churches with names not only like Community
but a deep, pastoral love that nurtures long-term spiritual health. Such pas (:hurch of the Happy Valley but also Tall Steeple Presbyterian Church want
torallove requires a community. Psalm 19: 12 asks "Who can detect their 10 hire musicians who aspire to make holy moments. One attempts to do this
errors?" reminding us that no one by themselves alone has the perspective to (In a pipe organ with a loud trumpet stop and one attempts it with microphone
see the whole picture. That's why Paul prays for "you all" (second person plu ,llId drum set, but both are striving to make God present, in some true, if elu
ral) to determine what is best. ~ive, sense. In congregations today, our strongest sacramental language is often
Finally, discernment, like every virtue, is less an accomplishment to achieve lIot used to speak about what happens at the pulpit, font, and table, but rather
than a gift to receive. The chief ally and agent in any communal discernment what comes from our conga drums, synthesizers, and swell box. Even the archi
process is none less than the Spirit of God. Discernment is a Pentecost virtue, II'Clure of many worship spaces (which rarely lies about what is most impor
a gift of the Spirit, and so, something for which we should pray. Lilli) conveys the "sacramentalization" of music. The front-and-center space
IOl'lllerly reserved for pulpit, font, and table or altar is now reserved for wor
s/lip hands or towering pipe organs.
Toward Criteria for Music in Christian Worship (:ertainly, this concern for attending to holy moments is important.
1\ I guably, most Christian musicians (in every style) are drawn to music because II~I
Robert Webber knows about the criteria for music in Christian worship. ,,j a Ira nsformative musical experience. Yet no one, no matter how charismatic, I)
Robert Webber has recognized music's power. He has also entered into the mid 10111 Illake a moment holy by his or her own creativity, ingenuity, or effort.
dle of the worship wars, serving as a witness to the importance of theological ."1 1 r;p(ure records a long line of those who tried: the prophets of Baal at Carmel
reflection in the middle of contemporary discussions. /\s he has traveled all (I King,s 18), old Uzzah, the servant who wanted to help along the cause of I
over North America teaching and lcctll ring, Ill' has ;llldrl"ssl·d COlin t1ess ques
tions about the practice of music. /\Iong Ill(' W;I)', Ill' II,I,S ;ll'lindalCd in com
( ;Il( I hy I'escuing the ark of the covenant from the shaking ox cart that was car
I yin!-\ il (2 Sam, 6, I ehron. 13), and Simon, the magician, who longed for
\~~
mon, accessihle language the kinds or nile'riil 1i"'1 d01l'1 IIiLTcll' pcrpctu;IIC lhe lilt' divine' power of healing to reside in his hands (Acts 8). I
prohlem hll tactually C:1I1 lead low;ml 1't'MJlIIIlIlII. III tI ti~ I II,ljIll'l" I wi Ilex pa nd 'Ill avoid ;1 ~il1lilar Il'IllIHalioll, ,~Ollll' Yl'ars ago choral conductor Westin
Oil W(·hllL'I''s WOl'k ;llld place hi,~ wor!( ill "'I\\'I'I_,lt illtl witll oflll'I rn('111 wril-' Nollir Nclrc(cl! all alllht'lll 011 11](' Pall/illc IrKI "( ;()(I dOl'S 1101 dwdl ill temples
IIIII! J
I "J
lIeyond Style 73
The Conviction of Things Not Seen
72
vice without music. Yet this would be a prophetic demonstration that while
made of human hands" for (of all things) a chapel consecration service. The music was incredibly important, it is also not absolutely necessary. Rhetorically,
choir proclaimed the Word of the Lord through music that day, echoing Paul's musicians gain credibility when they are willing to both promote and limit
sermon in Acts 17:24: "The God who made the world and everything in it, he their statements about the power and beaury and universal significance of pipe
who is Lord of heaven and earth, does not live in shrines made by human hands, organ music. Spiritually, we gain great freedom in Christ when we celebrate
nor is he served by human hands, as though he needed anything, since he him the fact that a divine-human encounter is not finally dependent on our musi
self gives to all mortals life and breath and all things." This word guarded against cal achievement, but is a Spirit-given gift.
the assumption that a certain kind ofbuilding could enshrine or produce God's I
Question 2, a liturgical question: Do we have the imagination and per
presence. It served as a powerful reminder that God's presence is to be received sistence to develop andplay music that enables and enacts theprimary actions
as a gift, that it cannot be engineered, produced, or embodied automatically (!(Christian worship?
(though one does wonder how the building committee felt about that state- Some time ago, I asked a group of elementary students-always one of the
mend). best barometers of the "living theology" of a congregation-to talk with me
\Y/estin Noble's choice reflects a well-established Christian instinct about ;(hout the meaning of worship. We took out a bulletin, and I asked them to
the arts in worship. Augustine was nervous about sung alleluias that distract ,\,11 me what was going on at every point of the service. When I pointed to the
our attention from the God who gave us voices and was worryied when "the
"Ilrayers of the people," they told me "well, there we are talking to God." When
music itselfwas more moving than the truth it conveys."? John Wesley advised,
I pointed to the Scripture reading, they told me "well, there God is talking to
"Above all, sing spiritually. Have an eye to God in every word you sing. Aim liS," So far, so good. But when I pointed to the opening hymn, they told me
at pleasing him more than yourself, or any other creature. In order to do this
"well, there we are singing." They told me this even though the first hymn was
attend strictly to the sense ofwhat you sing, and see that your heart is not carried
il prayer.
away with the sound, but offered to God continually; so shall your singing be such
In other words, when it came to the music, they had no theological expla
as the Lord will approve here, and reward you when he cometh in the clouds
11,11 ion of what was happening. They could only refer to what we were doing
of heaven."8 More recently, Thomas Long has warned, "If one desires an inti
1111 I he surface. This response is very instructive. So often we experience music
mate encounter with the holy at every service, then go to the Temple of Baal.
III worship not as a means of praying or proclaiming the Christian gospel but
Yahweh, the true and living God, sometimes withdraws from present experi
1111 illl end in itself This is not only a problem for children in worship but also
ence. In sum, God does not always move us, and everything that moves us is
fill adults-and for the musicians that lead them in worship.
* not God."9
There is no doubt that music has great significance in the divine-human "
encounter of worship. In spoken prayer, word mediates divine-human inter
personal encounter. In sung prayer, music does this multivalently. Augustine
is right: "To sing is to pray twice." Pipe organ music, an African drum, uni
This is precisely the worry of philosopher Nicholas Wolterstorff. "It is,"
Wl,lterstorffwrites,
h;\bitual for musicians trained within our institutions of high art to approach
I hl'music of the liturgy by insisting that it be good music, and to justifY that
fied unaccompanied voices, all of these and many more forms of music do Ilisistence by saying that God wants us to present our very best to Him-all the
function to inspire praise, evoke wonder, reveal new insight, and generate qual wllile judging good music not by reference to the purposes of the liturgy but by
itatively different religious experiences. 1I'!lTl'IlCe to the purpose of aesthetic contemplation. "11
But can we safely take the next step and believe that music generates an
experience of God? By no means, That places far too much power in music 'I 'h is concern applies equally to forms of church music derived from popu
itself. Music is not God, nor is music an automatic tool for generating God's 1.11 I 1111 lire chosen for its emotional or entertainment value. In contrast, Wolter
presence. Rather, in Robert Webber's words, music" witnesses to the transcen ' /,1, ,II f .alls for liturgical artworks that "serve effectively the actions ofthe liturgy
dence of God ... it elicits the sense of awe and mystery that accompanies a \Viil)()!Il- distraction, awkwardness, and difficulry."12
meeting with God."lo Music is an instrument by which the Holy Spirit draws' I Ill' primary clements ofworship are those that express and enact our rela
us to God, a tool by which we enact our relatiotlship wil h (;od. It is not a mag l'toll'ohip with Cod: God speaks to us through Scripture, God nourishes us at
ical medium for conjuring up God's prl'sl'IH'l', IIII' ,.Ible; wl,thank Cod, we confess our sins to God, and wedec!are our faith
Imagine a church mllsician agrn'itlg 10 l,du' ,I (H'W PCl,~ili'lll in ;\ l'otlgrq~a· I" ",II h III her hd(JI'{' (;od's EKe, Music always serves to accomplish one of these
tion, provided Ihal sIll' llr Ill' wOllld \1(' uhlr 10 Ito>lll Cllle~r1vile wilhollt tllll,~ic ,II Il""~, ,"iOI!\{' 1ll11,~k hclp,~ m l'Olllcss ,~il1s, SOI1H' hl'lp,~ liS express thanks. Some
al all. Mml wngrl'!\.lliOI1S wOllld Iw pNpll'Jlrd II' dll' ,IlIlIlp,l" olan \'nlin' Sl'r· ,
IIIIII
of it is the means by which we proclaim God's words. Music is always a means merely religious in the sense of dealing with a religious theme or enabling indi
to a greater spiritual end, a means for enacting our relationship with God. vidual and personal meditation but not communal engagement; art that is real
Thus, Robert Webber speaks of music as "the wheel upon which the Word istic rather rhan iconic; art, in other words, that directly and uncritically expresses
and Eucharist ride" and the arts as "the means by which Christ is encoun rhe values of our current culture. IS
JII
76 The Conviction of Things Not Seen Ikyond Style
77
about individual choice, participation, or preferences, but about the entire con Third, there is the Intolerant, the one who "is keenly aware of aesthetic stan
gregation. dards ofappraisal, but elevates his or her own standards to the level ofabsolutes."
And many voices would extend this reasoning one step further to argue that 'rhis, notes Burch Brown, is "the aesthetic equivalent of the sin of pride ... it
music in worship is not only about individual congregations but also about severs human ties and does violence to the freedom, integrity, and self-hood
the whole body of Christ, the whole catholic church. In his description oflitur of others." This is the sin of those in the church who don't perceive how their
gical music, Dietrich Bonhoffer explores this catholic impulse: own critique ofanother musical style applies equally to their own stylistic pref
('/'ellces. This is the sin of those who caricature music they don't like.
It is the voice of the Church that is heard in singing together. It is not you that
Fourth, there is the Indiscriminate, the one who embraces "radical aesthetic
sings, it is the Church that is singing, and you, as a member of the Church, may
share in its song. Thus all singing together ... serves to widen our spiritual hori I'l'Jativism. , . [who] indiscriminately [embraces] all aesthetic phenomena."
zon, make us see our little company as a member of the great Christian Church Ind iscriminate people are those who "cannot distinguish between what in their
on earth, and help us willingly and gladly to join our singing, be it feeble or IIWIl experience has relatively lasting value and what is just superficially appeal
good, to the song of the Church. IS Illg."19 This is the person in our congregations who has never heard a praise
,ong or choral anthem he or she didn't like, or the musician who simply wants
In a culture that celebrates individual choices and preferences, this vision calls \11 please everybody and will never admit that some music is actually inferior.
us to a new way of experiencing music. This vision invites us not to ask, "Did Burch Brown's way of thinking is striking, in part because it speaks of aes
I like that music?" but rather, "Did that music give me a powerful sense ofjoin I hl'lic experiences in moral categories (evoking the coupling of moral and aes
ing with Christians in other times and places?" /la'lic categories, which has a long history in the Christian tradition). The use
Question 4, a question about aesthetic attitudes: Do we have the persist 11r.~llch categories is helpful, because it gives names to complexities we often
ence and imagination to develop and then practice a rich understanding of' 1,1 iI to acknowledge. A lot of energy in the church is spent working against only
''aesthetic virtue"? Olll' (t)rm ofaesthetic sin, rather than all four. Thus some musicians are tempted
Most conversations about music in the church center on the music itself It I light only Philistinism, thinking of their life's work as a sustained attack on
whether it is relevant, authentic, well crafted, well chosen, or interesting. These /HII II' aesthetic sensibilities. Likewise, some pastors spend a lot ofenergy work
concerns are important but incomplete. Equally important are the attitudes illg against intolerance, especiaIIy when two competing groups in a congrega
toward the arts that we cultivate and tolerate in the Christian community. In lioll seem to embody this vice in equal measure. In most communities, it
a winsome chapter in his book Religious Aesthetics, Frank Burch Brown iden 1t'llIains stubbornly tempting to fight philistinism with aestheticism and to
tifies fout distinct attitudinal problems about the arts-let's call them "aes 1Ip,11l intolerance with indiscrimancy.
thetic sins"-that persist like viruses in the church. I\llrch Brown's vision challenges us to work for the simultaneous reduction
First, there is the Aesthete, "the person whose chiefgoal is not glorifYing and III illiolerance, aestheticism, indiscrimancy, and philistinism-not just in our
enjoying God but glorying in the aesthetic delights of creation." This may be I 11lIl',I'l'gations, but also in ourselves. All of us have a different prayer of con
the person in the church who loves to hear their Bach straight and couldn't r",~i'lil to offer: some of us work against the sin of indiscriminancy, others the
care less if that music enables liturgical action. Or it may be the contemporary· ./" "I' il1tolerance. These vices cohabit in our individual souls and in our con
worship fan who is more a connoisseur of sound systems than of expressing IWg al ions. We need to name and work against all tour simultaneously.
gratitude to God. 'I'hl' positive side is that such vices suggest corresponding virtues. Moments
Second, there is the Philistine, the one who "does not highly value or per "I IIIIl rgical aesthetic virtue happen, too. Perhaps a musician will willingly
sonally appreciate anything artistic and aesthetic that cannot be translated into I lId ILln' a piece of music in a style she doesn't prefer but at the same time help
practical, moral, or specifically religious terms." This is the sin, Burch Brown ",1 "llIlllIsiaH for that music to become more discriminating, Perhaps some
notes, that is exposed in Alice Walker's The Color Purple, where Shug says to 0111' wi II express delight in his discovery ofa canticle, psalm, or hymn that con
Celie: "I think it pisses God off ifyou walk by the color purple in a field some I, \ '. his own prayers better than he could have himself Another time, some
where and don't notice it." The Philistine is the pel"~OIl who refuses to devote 0111' III VOII r congregation may have a chest cold and, because she is not able to
any energy to reveling in the God-givell abililY I (!tTl'''ll' or who rdll.~c.~ to appre ~IIII'" will fill' lIll' Ii rSI (ime listen to the sounds of corporate singing around her
ciate the creative work of others, Thi,~ is I !It' person (l'l'Ih.,,),~ evell :1 musician) ,tI,d II(' Ill<lvnl hy {Itt' power of [his common expression. Yet again, someone
who treats l111l.~il·lilte a l'Oml1lOdity, simply 11100110 11111.111 p('oplC' or inlTease Will ~il1g a tnt. he SlrlH·1t with the power of [he thought expressed, and later
l'eV('IlIll', ~t1t1 il ,I~ a qllole as pari ol'ltis l' 111:lil sigl1allJl'('. i\l1otl1l'r lime, YolJrcongrega
78 The Conviction of Things Not Seen Beyond Style
79
tion may pull off the unthinkable: they will sing a meditative prayer text softly, Second, all Christian worship should be contextual, reflecting the unique
without singing weakly. In many musical styles, these are virtuous moments genius of the culture in which it is placed, speaking directly to that culture,
to celebrate. and arising naturally from people of that culture. When the transcultural ele
Question 5, a cultural question: Do we have a sufficiently complex under ments ofworship are practiced, they will be done in vernacular languages, with
standing ofthe relationship between worship, music, and culture to account forms of rhetoric, dress, gestures, postures, and symbols that enable local con
fOr how worship is at once transcultural contextual countercultural and cross gregations to celebrate them in deep and rich ways. Correspondingly; we should
cultural? lament worship that feels disembodied, that seems disconnected from the real
One of the many contributions of Vatican II to twentieth-century Chris living, breathing people who live and work in a given community.
tian worship was its insistence that liturgical expression reflect the particular Third, all Christian worship should be countercultural, resisting those aspects
cultural context oflocal congregations. This insistence calls to mind John Cal of culture that detract from deep, gospel-centered celebrations. When tech
vin's admonition that matters in worship for which we lack explicit biblical nology, material wealth, constant noise, or individualism threaten to erode a
teaching that are not necessary for salvation ought "for the upbuilding of the community's authentic faith, then worship forms should protest rather than
church ... to be variously accommodated to the customs of each nation and embody these cultural traits. Correspondingly, we should lament worship that
age."20 Since Vatican II, a small cadre ofliturgists have attempted to be con .~imply baptizes everything in culture that comes along.
scious ofhow this accommodation-variously termed contextualization, indi Fourth, all Christian worship should be cross-cultural, incorporating ele
genization, inculturation-can best take place. Spurred on in part by the post ments, prayers, and music that a given community receives as gifts from Chris
modern concern for cultural particularity, this project has been approached tians in other times and places. In music, this happens when even ethnically
enthusiastically by many ecclesiastical traditions. The Roman Catholic Church homogenous congregations attempt to become musically multilingual and sing
has produced a much-discussed "indigenous rite" for Zaire. Protestants have songs and hymns from a variety ofcultures. Correspondingly, we should lament
eagerly encouraged the development ofindigenous musical repertoires in Africa, worship that is insular, that gives the impression that a given congregation has
South America, and Southeast Asia. And many traditions are exploring the 110 need for other parts of the body of Christ.
stunning variety of cultural expressions that contribute immeasurably to the Like Burch Brown's work on aesthetic sins and virtues, the "Nairobi State
liturgies of the world church. 21 Illent on Worship and Culture" affirms four virtues that must be cultivated
Significantly, the recent move toward inculturation has both promoted and si rnultaneously. Here is a theory of inculturation that is not governed by an
limited indigenous forms of expression. It has encouraged the development of implicit either/or rhetoric. Rather efficiently, this document properly compli
indigenous forms only insofar as they complement the historic structure of cates our thinking about the proper relationship between music and culture.
Christian worship. Generally speaking, this movement has argued that Chris Here again, each Christian leader and each community needs a different
tian worship should arise naturally out of its cultural environment but that it prayer of confession. Some of us need to confess our imperialism, some our
should also critique aspects of the culture that run against central tenets of the I I II tural retrenchment, some our indiscriminate use ofelements ofour culture.
Christian faith. The movement has argued that worship should avoid both "cul I n most congregational discussions, the discussion ofworship and culture
tural capitulation" and "cultural irrelevancy."22 i~ rl'll1arkably simplistic. Most congregations and their leaders are more excited
One of the mature statements to come out of this movement, the "Nairobi ,IIH)lIt one of these four adjectives than the others. In one congregation, one
Statement on Worship and Culture," has been produced by the Lutheran World ",IOUp argues that the pipe organ should be locked up because it is irrelevant,
Federation. This statement argues that healthy congregations should have wor \Vh ill' another group asserts that the pipe organ is necessary because it is coun
ship that is self-consciously transcultural, contextual, countercultural, and 1"I'lul tural. In another congregation, a congregation adds $200,000 per year
cross-cultural-all at the same time. 23 III ilS hudget for video production to have music videos call the congrega
First, all Christian worship should be transcultural, embracing the univer III [II 10 worship each week, based on the idea that worship should reflect local
sal dimensions of the Christian gospel and of Christian liturgy. Thus all wor I lilt U re.
ship should feature the centrality of the Word, honest prayers offered in the 1IIIagille congregational musical life in which musicians constantly pursue bal
name of Jesus, the proclamation of the full gospel of' (:h risl. Ihe rich celebra ~e Illan'ers. So a worship band that was working on a hard-driving
.1111 [' ill t1H...
tion of baptism and the Lord's Supper. Co l'l'l'SpO lld iIIlJ,ly, we should lament IIl'IV hallad rill' IWight of' perceived contextuality-might also work on learn
~i)J·Ill.~ ofwOf'ship that do not emhody tht' 11lI1I1It'jJ.otiilhlf' '"Hllllliwrsall'Oll1 111/'.;1 'I:lizc I'di"aiJ1 as a COlllllt'l'l:\Illmal protest' against overly noisy and technol
POI1l'llIS of'< :hl'isti:1I1 lilUrl-\Y. IIPoilt'd IC)I'IIIS of' lllll.~i<.',
····1
Of course, these vexing economic questions can be wrongly used in an utterly ,I Idanced diet of both contextual and countercultural music for next Sunday.
Philistine way. Resources and the costly use qf them in the service ofGod are not bad. Sound, tangible changes are not inevitable, however. Such discernible
What is bad is the persistent implication that it takes money to truly worship God. I "anges require yet one more thing, signaled by the single word that has
Thoughtful consideration ofthe economic implications ofour worship may ,qlpeared in each of the six questions: the word imagination. Most often, the
lead congregations to very different strategies. What if our cathedrals and Iill ill1ate constraint on our musical life together in congregations is not the
megachurches hosted a festival service in which the orchestras, sound systems, 1.1< k of money, the lack of books or articles about the subject, or the lack of
and organs were set aside for a time as a witness to the virtue of Christian sim I illlSlIltants who will come to help us. The ultimate constraint is our lack of
plicity? What if large distributions of funds for musical resources in worship IIl101gination,
were paired with equally large distributions offunds to communities with fewer WI' need imagination to see what is really going on under the surface of our
resources? What if we designed a church culture in which the staffs of huge 1\'.111 i kL' conversations about music. We need imagination to see how the weekly
suburban churches and church-related colleges attended worship conferences 111,11 Iil'e ofworship music embodies different aesthetic and cultural virtues and
at small, rural churches, eager to learn about the virtues of smallness and sim III ".\. We need imagination to perceive how our practice of music can, at the
'''\111'' I illlC, be made more accessible and authentic, more relevant and pro
plicity-rather than just the other way around?
1,,"",1. This kind of imagination that is forged by both knowledge and love
I\' til ,II low liS lllf.\cther to "determine what is best."
.d