On 2002-07-02 12:49, Mark_J wrote:
I am, however, overtly curious about the perception that Christian music, alone builds barriers that prevent other people from enjoying that music. …
How does any label divide music?
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It is just cataloging. Why does that imply a narrow perspective?
Please allow me the liberty to paraphrase your text as follows:
“While I don’t think there’s anything wrong with having > “St. Louis Blues music,” > you really can’t remove it from the rest of music and make it the exclusive property of one set of folks who > live in other parts of the world> .”
That seems very silly when you insert St. Louis Blues or Dixieland Jazz into your text. I did that to illustrate that only Christian music gets the stigma of isolating musical culture from the rest of the world and that is just curious to me. Many classical composers wrote tons of religous music that the classical music community at large enjoys reguardless of profession of faith. And to use an example that has popped up in our discussion board, the Welsh folk tune, “the Ash Grove.” The Ash Grove will always be a Welsh folk tune, yet more than a dozen hymns have been written to use that melody. That doesn’t take it away from Welsh people or any other people for that matter.
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Mark, you reminded me of this thread recently. I went back and read it again, and I realized that I did not respond to your comments. Since I also realized that Walden changed the title of his webpage to “Sacred Music” I thought I’d try to explain why such labels as “Christian music” rub me the wrong way.
DISCLAIMER: Everyone is welcome to keep using that label. I am not telling you what to do or not to do. I don’t disapprove of you, your views, beliefs, practices, or favorite music. I think it’s interesting to listen to people whose views are perhaps different from mine. Since you are reading this I assume that the same is true of you. END OF DISCLAIMER
I don’t think the St.-Louis-Blues analogy works. First off, it’s a descriptive label that says nothing more than “blues music from St. Louis” and that makes it different from the label “Christian Music” in my view.
Before I explain why “Christian” isn’t just a descriptive label in my experience, let me say that I don’t think the problem here is that music is being taken away, appropriated if you will, by calling it by a specific label. It’s not impossible for such a thing to happen, though, and one should be on the look-out. For instance, under the Nazi’s “final solution” meant the destruction of the Jews of Europe, and to my ears that term can never shake that connotation. It has been appropriated by the Nazis and I cringe involuntarily if I hear the words “final solution” used in perfectly inoccuous and mundane circumstances. That is a crass example to bring home the point that cultural associations can grow so strong that it becomes impossible to ignore them. Consider Ravel’s Bolero: A beautiful piece of music that cannot be seriously played in this country anymore, thanks to Bo Derek and that hilarious sex scene. On the other hand, it is still possible to play the Ashgrove in a session without bringing a church service to everybody’s mind.
So, while I think that cultural appropriation exists and that it is not “just about cataloging”, such appropriation wasn’t my original concern. I think that the label “Christian” is different from a lable like “St. Louis Blues”, “Hard Rock”, or “Madrigal” for two reasons.
The first difference lies in the meaning of “Christian.” If you use the term to define music that has words about Christ or is played in worship, you are drawing a line. (“define” means to establish a border.) There wouldn’t be a problem with this if Christian belief in its substance weren’t antithetical to such lines or borders. It is not our business to draw lines between Christians and non-Christians, I think (judge not, and so forth). After all, everyone is considered a child of God, and all our attempts at distinction would be meaningless in the eyes of God, right? (You know more here than I do.) Similarly, to draw distinctions between Christian and non-Christian things strikes me as inherently suspicious, as potentially losing sight of what “it’s meant to be about.” The music we play, songs we sing, words we say, and places we go, our clothes, our food, our secret handshakes: all these things don’t just have meaning in themselves but also serve to establish cultural separations. They are markers for group associations, and tell everyone what club we belong to. It’s comfortable and comforting to belong to a club where I know what to expect and what reaction I will get for what I say, but again, this comfort is not what it’s about, I think.
The second reason why the St.-Louis-Blues analogy doesn’t quite work, in my opinion, is that the label “Christian” comes with more historical and cultural baggage then other terms. It calls to mind overzealous and intrusive attempts to save someone elses souls, Christian sectarianism, and cultural aloofness, and even images of slightly-deranged-seeming and slightly scary people waiving bibles on streetcorners and screaming “Jesus Loves You” in my face (my views, my perceptions, of course). Now, I realize that this is a bit hard on someone who honestly believes and does not want to intrude or be disrespectful, but to whom faith is an important part of life that permeates everything else. It’s like being blamed by association. There is no way out of it, however, I think. You can either hang out at your “club” and talk to people whose association with labels like “Christian” is colored by different things. Or you can avoid the label where possible and remember that it is actions and not words that count.
(If you’ve gotten this far, please remember that this is just my view and that I am not asking you to agree with me, or to change, or to do anything that should cause you to get upset now.)