giving voice to the converted heart and mind by James Maher A thesis submitted in partial fulfillment of the requirements for the degree of Master of Theology MCD University of Divinity March 2013 Christian songs are commonly understood to have a theology, but not necessarily to serve a theological function. This thesis explores the theological function of Christian song within the framework of Bernard Lonergan’s theological method. An understanding of the method of theology developed by Lonergan, in particular the functional specialty foundations, combined with an understanding of how song functions as a symbolic art-form in relation to religious experience, makes it possible to judge more accurately the place of song in theology. This thesis argues that Christian song, as a theological action, makes its most important contribution within the functional specialty of foundations. The theological task of foundations is the objectification of conversion, the radical religious, moral and intellectual transformation which is the foundation of human authenticity. Song, as a symbolic art-form, is well suited to the objectification of religious conversion: an experience of grace, a falling in love in an unrestricted way, a being drawn into the mystery of love and awe. It seems that music and poetry, and other symbolic art-forms, are best able to express the ‘otherwise inexpressible’, and to do so in a way that is accessible to people of all classes and cultures. In foundations, the centrality of religious experience within theology is reasserted. This religious experience, expressed in song, re-presented in its transforming immediacy, provides the horizon within which religious doctrines might be affirmed and clarified, their meanings understood, and communication of these meanings undertaken. More than being simply a ‘carrier’ of doctrines, a good Christian song evokes the religious experience which alone makes it possible to recognise, and to seek the meaning of, such doctrines. This study yields a more dynamic and a more fundamental understanding of the theological function of religious songs and songwriting than is evident in current literature. It makes clear the primary importance of the authentic conversion of the songwriter, and proposes the secondary importance of the study of the tradition (scripture and theology). It should help Christian songwriters better understand what they are doing in their art, what is foundational to it as a religious and a theological activity, and perhaps how they might compose better songs. ‘God willing, and the creek don’t rise!’ Researching and writing a thesis is an intensely personal and demanding process, which has a profound effect on the reality that is ‘me’. The experience of this research, and my other post-graduate studies, has been the lens through which I have lived and reflected upon my life in the last few years. I feel truly blessed to have had this lens to help me recognise and understand the transformative journey I have been travelling, and to have had such love and support from my companions on the way. I am deeply grateful ... For the opportunity offered to me by my religious congregation, the Missionaries of the Sacred Heart, to undertake further theological studies. For the insight, the unstinting encouragement, the patience and the friendship of my supervisor, Kathleen Williams. For the kind advice of Mike Shute and Phil McShane in the early stages of my research, which helped me find the right direction for this thesis, and for a timely question from Norman Young. For the warmth and welcome I have received within the Yarra Theological Union community, and for the generous support of the academic and administrative staff of the MCD University of Divinity. For my spiritual director, who helped me name my own conversion, and whose faith, compassion and wisdom have been gifts beyond price. For the love and support of the St Thomas the Apostle Parish community in Blackburn, and especially the parish staff who looked out for me, and were always ready with kind words of encouragement. For the love and support of my MSC brothers here in Melbourne, who helped keep me sane and who patiently endured my thesis journey with me. For the love and encouragement of my family and friends, who have walked with me through some tough times in the last few years. I am grateful to have managed, with the grace of our loving God, to have completed this thesis, and indeed my MTheol. The creek did rise a few times, but God was always there, waiting and willing. Introduction In the beginning was the Sound .................................................................................. p.11 Chapter 1: Music and theology ............................................................................. p.44 Is there a way in which music is integral to theology? ............................................... p.77 Towards a renewed understanding of theology ....................................................... p.9 9 Chapter 2: Method in theology ............................................................................ p.1111 The renewal of theology ............................................................................................ p.1111 Transcendental method: the method of human consciousness ................................. p.1414 Conversion: the foundation of human authenticity ................................................... p.1718 Transcendental method: implications for a renewed theology ................................. p.1919 The method of theology: functional specialties ........................................................ p.2020 New foundations in a new realm ............................................................................... p.2324 Chapter 3: The meaning of a song ....................................................................... p.2526 Does music have meaning? ........................................................................................p.2627 The carriers of meaning ............................................................................................ p.2728 Symbolic meaning .................................................................................................... p.2829 Artistic meaning ........................................................................................................ p.3233 Literary language: symbol and art ............................................................................. p.3436 The creation of a song: combining words and music ................................................ p.3738 Chapter 4: Foundations: giving voice to the converted heart and mind ................................. p.4042 Preliminary remarks on theological categories ......................................................... p.4042 Objectifying conversion in song .............................................................................. .p.4244 a) Writing from my own experience .............................................................. p.4345 b)Writing from more than my own experience .............................................. p.4446 c) ‘Let me know your love’ ............................................................................ p.4749 d) Intensifying, purifying and clarifying the objectifications of conversion ...p.5052 e) Undifferentiated and differentiated consciousness: questions of style .......p.5254 f) Incomplete and unauthentic conversion ..................................................... p.5356 Conclusion The Song made flesh ................................................................................................. p.5558 Bibliography ........................................................................................................... p.5760 Appendix 1 ‘Word’ and music in Christianity: the subjugation of non-discursive meaning ........p.6366 Appendix 2 Song texts and audio CD ............................................................................................p.6669 The Christian songwriter as theologian INTRODUCTION In the beginning was the Sound ... ‘Without music, religion doesn’t stand a chance’. (Tim Winton) 1 The vast majority of cosmogonic stories originating from the most diverse cultures, call upon acoustic images to explain the origin of things, of animals, of man. Everything happens as if the most intimate relationship which exists between a human being and his creator-parent was first perceived by man as being a resonant one: noise, sound, voice, music.2 Thus writes the French Jesuit composer and music scholar, Joseph Gelineau. A Hindu creation story offers a powerful example: ‘... all was dark and quiet in the womb of the universe until the first movement, which created the sound, “OM.”’3 Christians might be able to hear the opening of John’s gospel, with its reference to the Hebrew creation story, in a fresh way: ‘In the beginning was the Sound, and the Sound was with God, and the Sound was God ...’ (cf. Jn 1:1) 4 All things came into being through this primordial sound (Jn 1:3), just as we are told in the beginning of Genesis: God spoke (perhaps it sounded like a big bang!) and creation dawned. (Gen 1:1 – 2:4a) Gelineau proposes that ‘the fundamental symbolic power of sound’ arises from the fact that our first external perceptions in utero are aural, whereby a ‘message from another person enters me by the sense of hearing and invades me completely without my awareness of its arrival and its source.’5 Irish singer and theologian, Nóirín Ní Riain, makes