Part four of four.  Parts one, two, and three.

The idea of “Christian music” is not an impossibility, per se.  Defining the term, however, is fraught with practical difficulties.  Maybe some will muster the courage to posit a rigorous definition of Christian music and exclude a great portion of extant music from this category.

I would propose an alternative mode of operation.  Instead of classifying music neatly and tidily as “Christian” and “secular,” let’s consider all music to be art.

Art is often the vehicle of worldviews.  When we encounter any form of art, we need to examine its worldview.  We need to inspect and diagnose the vehicle.  What aspects of the worldview are helpful and edifying?  What aspects of the worldview do we disagree with, and why do we find these aspects disagreeable?

Perhaps, we can maintain the moniker “Christian music” as a communicative efficiency.  The term is often helpful, especially in commerce and marketing.

But, we must dismiss the use of the term as some sort of moral demarcation.  Music, after all, is not much different than meat offered to idols (a first century moral dilemma).  Music now, as meat then, is a good thing often used for reprehensible purposes.

The task of the listener is to listen critically to all things because “each one should be fully convinced in his own mind” (Rom. 14:5).

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