“The end is music.” Thus Robert Jenson ends his magnificent systematic theology in describing the visio dei in distinctly aural terms. The vision of God, the beatific vision is here conceived not first and foremost as seeing, but as hearing, as listening to the intonations, harmonies, and rhythms of the eternal discourse of the Trinitarian persons.
This vision is rooted in a central theological sentiment, namely that music has incredible theological vitality and power. However, what is it that makes music theological? And what constituted good theological music? How are such aesthetic judgments to be made in the theological task?
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