May 2017 Feature
In February 2016, Singapore’s Catholic archbishop Goh urged his fellow Catholics to differentiate “pseudo arts” from “authentic arts that lead us to God.” The criticism was directed toward the “Queen of Pop”, Madonna.
In everyday discourse, the term popular music can generally be described as types of music of lower complexity than art music, having wide appeal, and ready to be enjoyed by large numbers of musically uneducated people rather than only by a certain élite. Its identifying elements can include the use of simple melodic tunes and repeated choruses.
How should Christians view and evaluate pop music along with the culture it spawns?
In order to understand the phenomena of popular art, we must understand a certain philosophical background that has helped these phenomena to flourish, that is, the philosophy of pragmatism.
According to the pragmatist philosopher Dewey, the special function of art lies above all in the enhancement of human immediate experience. The supremacy of the aesthetic is that art can be immediately enjoyed. The final standard in pragmatism is not truth but experience.
Pragmatism criticizes the modern conception of art that has detached art from real life and send it to a separate realm like the concert hall and museum. Instead of associating aesthetic experience with normal processes of living, art has been compartmentalized in an élite realm accessible only for certain people.
Dewey disapproves such elitist tradition and want to bring art back in everydayness. He therefore rejects the dualism of high versus popular culture by insisting on the fundamental continuity instead.
According to pragmatism, the so-called ‘high’ art music performed in the concert halls (and in some traditional churches!) has removed art from human lives. Pragmatist aesthetics therefore privileges art experience over the art object. The way to this enhanced art experience is through popular art.
We can appreciate Dewey’s genuine concern about the elitist tradition. Indeed, the Bible does not advocate elitism but opts for universal inclusion. “Jesus loves the little children, all the children of the world.” We also appreciate Dewey’s effort to bring art back in everydayness.
However, there are serious difficulties in the pragmatist solution of popular art viewed from the Christian perspective.
First, the immediacy of aesthetic experience as the ultimate goal of art is highly problematic when viewed from biblical perspective. Christianity is not an immediate (read: instant) way of life. There is no easy and convenient truth without a long process of learning and struggling.
If we agree that there is a strong relation between the kind of art that we consume and our spirituality, then one of the dangers of popular music lies precisely in its immediacy and instantness. The unformed life is not worth living. Popular music tends to produce instant (pseudo) spirituality.
Secondly, the strong emphasis on experience at the expense of truth is hardly compatible with the biblical view. Biblically speaking, there is no truly satisfying experience apart from truth.
Popular music cares little for its content since it aims primarily for enhanced experience (of feeling good, for instance). This kind of experience, however, imprisons humans in subtle addiction.
On the contrary, “the truth will set you free” (John 8:32).
The Swiss reformer Zwingli related the idea of Christian freedom and true happiness when he said, “Truth wears a happy face.” Happy experience cannot be separated from truth.
Thirdly, due to its goal to bring music to large numbers of listeners with little or no musical training, popular music frequently, if not always, displays lack of depth and along with it, of deep quality.
Any complex music is suspected of succumbing to the elitist tradition. The absoluteness of simplicity, however, can be considered as a denial of growing and becoming mature seen from the biblical perspective. The celebration of simplicity that avoids the process of growing can easily lead to the celebration of triviality and naïveness.
The Bible, on the contrary, teaches humans to give up childish ways to become an adult and mature (cf. 1 Cor. 13:11; Heb. 5:14).
Fourthly, the problem of sharing the complex art and music, the so-called ‘high’ art, is not resolved by replacing them with easy-to-listen music. If that were the case, then there would have been no incarnation. Replacing high Christology with low Christology is never an orthodox evangelical way of settling the problem.
“The Word became flesh and dwelt among us” (John 1:14). Christianity commits to believe in the incarnation of the Most High. Pragmatism teaches us to discard everything high coming from the idealistic realm while replacing it with popular concrete experience.
Christianity celebrates not only the possibility but also the certainty of the Logos that has become flesh. Christianity concurs with pragmatist criticism of Platonic idealism but comes up with different solution.
If we believe in the way of incarnation, then we don’t have to replace the ‘high’ with the ‘low’ but to teach and edify our children and ourselves so that we can grow from childhood to adulthood.
The reformers believed in the power of catechism. Luther translated the Bible into German. Zwingli applied the university method of teaching in his Sunday service expository preaching, that is, chapter by chapter of the Gospel. He did not oversimplify the life of Christ through popular preaching; rather, he edified his congregation in the way theological students were taught at the university.
Catechism is a Christian protest against the pragmatist easy solution that often leads to uneducatedness and ignorance. Calvin famously stated, “We know that where there is no understanding, there is certainly no edification.”
We need not only theological catechism but also catechism on good Christian arts and music. May God help us grow in the grace and knowledge of our Lord and Savior Jesus Christ.
Rev. Billy Kristanto is the Academic Dean of International Reformed Evangelical Seminary Jakarta and a part time lecturer at Yong Siew Toh Conservatory. He received a doctorate of philosophy in musicology and a doctorate in theology Systematic Theology both from Heidelberg University. He lives in Singapore since 2002 with his Family.