This chapter takes its cue from the vision of music adumbrated by the previous three essayists: in which music is seen as depending on a ‘faith in an order of things that exceeds the logic of statement and counterstatement’, arising from an embodied dwelling in the world which is pre-conceptual, pre-theoretical. As such, music has the capacity to free us from the kind of alienating relation to our physical environment that an over-dependence on instrumental language brings, and free us for a more fruitful indwelling of it that has been largely lost to modernity. This resonates with broadly biblical-theological view of humanity’s intended relation to the cosmos, as exemplified in the concept of New Creation in Christ. This essay returns to language, considered in this light: how can music, and thinking about music, enrich language? Specifically, how might music facilitate a deeper understanding of the way ‘God-talk’ operates? It is argued that music can offer a powerful witness to the impossibility (and danger) of imagining we can grasp or circumscribe the divine (the antithesis of human freedom). More positively, it can greatly enrich our use (and understanding) of existing theological language, and generate fresh language that enables a more faithful perception of, and participation in the realities it engages.
The Problem of Divine Sovereignty and Human Freedom