Evangelizing With Western Christian Music

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Evangelizing with Western Christian Music When does evangelization through Western Christian music provide the exact opposite of evangelization among indigenous cultures? Robin P. Harris, James R. Krabill, and Vida Chenoweth provide arguments based on the concept that Christian missionaries cannot fully preach the gospel through the utilization of Western Christian scriptural songs. While all three individuals provide logical arguments, I, under the acquirement of my viewpoint on the unspoken power of music on individuals, disagree with their sentiments. First, we need to clearly constitute a definition of “universal” that makes it universal among all individuals. In the context of universal music, the music should be, according to Harris, “understood in their historical and cultural contexts to be interpreted correctly” (Krabill, 6). In this way, Christian missionaries can fully understand certain cultural implications on music that can, in effect, prevent the unwanted force of shoving the liturgy within the blaring sound of the organ, an instrument not familiar and, frankly, not preferred by indigenous societies beyond the Western groups. But what indicated that music defines a universal language initial to Harris’ viewpoint? Henry Wadsworth Longfellow, a famous writer during the early nineteenth century, created this term and clearly inspired the Western musical society to adopt the term as poetical accuracy of what music represents. To this day, ask any individual if
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