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[Meghan Beas]

Discussionsin Contemporary Culture is an award-winning series co-published with the Dia Center for the Arts in New York City. These volumes offer rich and timely discourses on a broad range of cultural issues and critical theory. The collection covers topics from urban planning to popular culture and literature, and continually attracts a wide and dedicated readership.sure participation does not extend beyond 10pm in their local time.Summer 2024: Online course Sofia Villenas Associate Professor Section ID:ANTHR 2400 001-LECNumber:1077Session:Summer 3-week 3Class dates:July 15-August 2, 2024Final exam/project due:Friday August 02, 11 AM - 12:15 PM / Online (see Final exams)Time / room:M-F 11 AM - 12:15 PM / Online Mode of instruction:Online (async+sync)Credit:3Grade:Student optionInstructor:Villenas, S. (sav33)Max. enroll:20Notes:Students are additionally required to interact on discussion board outside published class time and view asynchronous course lectures. Instructor will make efforts to accommodate time zone difference for class time.To enroll:See Register and Dates & Deadlines for enrollment information.

y students tell me that their high schools are segregated according to music tastes. Some teenagers like pop; others like rap. And then we have the heavy metal head-bangers (themselves divided into factions favoring death metal, thrash, Goth, and other musical sects). Then there are the "alternative" fans, the devotees of techno, and those who listen only to dance music. In addition, we must remember the "goat-ropers" who favor country music, not to mention the avid fans of contemporary Christian music.

Hal Foster is Townsend Martin Class of 1917 Professor of Art and Archaeology at Princeton University, where he teaches courses in modernist and contemporary art and theory and directs the graduate proseminar in methodology. He is a...

In the high school social scene, groups of kids who like the same music hang out together. The fans of the same music typically share not only the same tastes but the same values. Music is more than entertainment; it is an expression of identity.

Another facet of the high school social scene is often forgotten by nostalgic adults. These different groups, defined by their music, tend to conflict. They don't like each other's music. And they don't like each other. Defining your own group against another is just one more way of establishing an identity, so such adolescent cliques are not surprising, nor are they necessarily vicious. But feelings can run high, and the arguments are often over music.

The problem is, adults tend to play the same game. When today's aging baby boomers were teenagers, their music defined their generation. They pitted their rock 'n' roll against their parents' music. And to this day, boomers listen to their oldies stations, which ceaselessly spin the music they listened to when they were teenagers. Ironically, they often sound just like their parents, inveighing against the music their kids are listening to, lauding the Beatles like their parents lauded Frank Sinatra.

When baby boomers were young, there used to be a "top forty," consisting of a single slate of best-selling records played by identical-sounding radio stations across the country. Today, though the charts still exist, the musical landscape is far more diverse. So many different genres of popular music compete and the audience is so segmented that there is no one style of contemporary music that defines the times. Now there is an abundance of mutually antagonistic musical styles, each championed by equally antagonistic groups. And so, just as the big three television networks have lost much of their audience to the scores of specialty channels on cable or satellite, the music industry has had to adjust to a market of "narrow casting," a phenomenon that is only accelerating with Internet radio and MP3 files.

Students are additionally required to interact on discussion board outside published class time and view asynchronous course lectures. Will accommodate time zone difference to ensure participation does not extend beyond 10pm in their local time.Summer 2024: Online course Sofia Villenas Associate Professor Section ID:ANTHR 2400 001-LECNumber:1077Session:Summer 3-week 3Class dates:July 15-August 2, 2024Final exam/project due:Friday August 02, 11 AM - 12:15 PM / Online (see Final exams)Time / room:M-F 11 AM - 12:15 PM / Online Mode of instruction:Online (async+sync)Credit:3Grade:Student optionInstructor:Villenas, S. (sav33)Max. enroll:20Notes:Students are additionally required to interact on discussion board outside published class time and view asynchronous course lectures. Instructor will make efforts to accommodate time zone difference for class time.To enroll:See Register and Dates & Deadlines for enrollment information.

What are churches to do in this musical and cultural climate? Since there is no one contemporary style, how can church music be contemporary? Since music is tied to group identity, how can worship leaders avoid antagonizing diverse members of their congregations by championing one particular style? Can music be used to forge the congregation, in all of its musical diversity, into a single body of believers, unified not only with each other but also with fellow believers throughout the centuries?

First of all, the warring factions should realize that, in spite of the way the argument is usually framed, the issue is not whether or not it is appropriate for music to be contemporary. New church music is being written and published every day, including new music by arch-traditionalists. As a committee member working on the new Lutheran hymnal, I have been introduced to many newly written hymns, which are wonderful and prompt no complaints, even among the most rigorous liturgical purists. These new hymns are contemporary in their language, their imagery, and their music. They are, however, definitely hymns-that is, songs written specifically for congregational singing during worship.

Not all music works well for group singing. Most music today, including the various styles of pop music, is written for individual performance. A congregation cannot sing together an Amy Grant song (although I have seen it tried) any more than it could sing together a Pavarotti aria. The music performed by these professional artists hinges on expression, phrasings, note-bendings, and coloratura (or elaborate embellishments) that cannot be duplicated by a large group of musically untrained church members trying to sing in unison.

In the high school social scene, groups of kids who like the same music hang out together. The fans of the same music typically share not only the same tastes but the same values. Music is more than entertainment; it is an expression of identity.

With hymns, not only is the music written to be sung collectively, the content should apply to everyone. So the words must not express an individual experience, but, rather, either objective truths or an experience that all Christians share.

Thus, "Joy to the world, the Lord is come," "There is a fountain filled with blood," and "A mighty fortress is our God" all express, with emotional and poetic intensity, biblical realities. When hymns use the first-person pronoun, they should express not some unique personal history but something universally true for every Christian. Every Christian can say and sing "I once was lost, but now I'm found." But being "seated one day at the organ," whereupon "I struck one chord of music/Like the sound of a great Amen"-well, every Christian has not done that. That song may be fine in other contexts, but not in collective worship.

Of course, there are other kinds of church music. Our Lutheran hymnbook committee is also looking at new musical settings for the great texts of the liturgy, those scriptural passages that have been used in the Church's worship for centuries; for example, the Kyrie ("Lord, have mercy upon us"), the Gloria in Excelsis ("Glory be to God on high"), the Agnus Dei ("O Christ, Thou Lamb of God, that takest away the sin of the world"), and so on. These typically employ the musical genre known as chant.

Go to a Jewish synagogue and you will hear the cantor singing the words of the Hebrew Scriptures. This is chanting, which renders a prose text in a flowing, irregular musical line. In Christian worship, chanting is associated with Roman Catholics (e.g., their Gregorian chant); and it is integral to an Eastern Orthodox service. But Anglicans have also contributed much to church music with their plain song chant, and Lutherans regularly chant both the liturgy and the Psalms.

Chant allows music to be attached to the direct, word-by-word text of Scripture. Any Bible translation, as well as any prose passage, can be set to music by means of chant. Translation into English poetry is not necessary to fit the metrical requirements of a particular tune. In chant, the tune changes according to the words, rather than vice versa. Historically, the Psalms-which were originally written to be sung-have been chanted.

Some Reformed Christians believe that only the Psalms, and no other hymns, should be sung in church. Typically, however, they sing metrical Psalms, a rhyming, rhythmic translation of the biblical text. We Lutherans wonder why they do not just chant them. That way they could sing them word for word from Scripture.

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