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Neo-Calvinism 7: Structure and Direction

by Derek Melleby

Brian Walsh and J. Richard Middleton provide a helpful summary statement on the practical implications of the "Creation, Fall, Redemption" (CFR) motif:

Another way to say this is to say that the Christian task is one of discerning "structure" and "direction." The following is adapted from Creation Regained by Al Wolters:

Structure
Structure refers to the order of creation. It is anchored in the law of creation, the creational decree of God that constitutes the nature of different kinds of creatures. It designates a reality that the philosophical tradition of the West has often referred to by such words as substance, essence, and nature.

Direction
Direction involves two tendencies moving either for or against God. Anything in creation can be directed either toward or away from God — that is, directed either in obedience or disobedience to his law. Direction also designates the order of sin and redemption. It refers to the distortion or perversion of creation through the fall on the one hand and the redemption and restoration of creation (in Christ) on the other.

Currently I am working with two musicians (both singer/songwriters) who have asked me to help them think more deeply and "Christianly" about their music. Our initial conversations were discussions about structure and direction. First, we attempted to develop a framework for understanding music in God's world. Thinking about CFR we determined that music is a "good" but distorted part of our culture.

Second, discussed the direction of today's popular music and identified some of the ways in which music is distorted: much of it is market drive leading to commodification, most listeners want instant gratification, often music is used as a "tool" to manipulate, some music encourages violence, and some popular music is poor technically.

Third, we've been asking: "What does it look like to bring redemption into the world of music? How can Christian musicians be agents of change, offering a 're-direction'?" Recent conversations have focused on Walker Percey's remark, "Bad books always lie. They lie most about the human condition." I've suggested that "bad music always lies. It lies most about the human condition." Music needs to be truthful, deal honestly with the human condition and have integrity. (Steven Garber pointed me in the direction of this Walker Percey quotation.)

We've also discussed Bono's reflections on his music, most notably: "In my music I hope to tear away a corner of the darkness." The entire world of music is not on a single musician's shoulders. How can you use your particular gifts and influence in the sphere that has been given to you? Our most recent conversations have been around how music is able to "liberate people's imaginations." Music can get listeners to ask the "right" questions, think "outside the box," and not be satisfied with the status quo. This has implications for both the style and lyrics of music.

Music is just one area of culture in which a faithful discernment of structure and direction is desperately needed. While I hesitate to discuss CFR as a rigid formula to run every major cultural issue through, it is a helpful way to begin to wrestle with the complexities of discipleship.

Byron Borger summarizes this well:

               

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