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Arts & Communication Theodicy and music

John Tavenor to theodicy, particularly with respect to the 4.2. Internal God-view
Christian tradition and the suffering of Christ. In a 2013 Individuals with an internal God view believe that there
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paper, British progressive Christian theologian Andrew is a form of deity within them, often described as a form
Pratt reflected on his own theodicy in the context of of energy. To achieve balance, many such individuals
natural disasters. Pratt references the Book of Job, placing practice mindfulness. Spirituality is essential and is
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the responsibility for natural events and disasters with achieved by balancing one’s energy with some form of
God. He also discusses various hymn texts that refer to spiritual entrainment – the process in which all forces
natural disasters. 3 work together. 2,21,24 For these individuals, suffering may
A unique intersection of literature, music, and theodicy result from an imbalance in energy caused by the absence
is observed in Bertoglio’s 2018 paper, Dissonant Harmonies: of spiritual entrainment or an attraction toward a negative
Tolkien’s Musical Theodicy. Bertoglio, an Italian theologian form of energy. Therefore, these individuals could prefer
and musician, analyzes Tolkien’s posthumous work, music that is meditative, reflective, and repetitive,
Ainulindalë from Silmarillion. In this allegory of creation, perhaps including abstract genres with subtle rhythms
Tolkien employs musical elements to represent good and and simple melodies and harmonies, to bring all forces
evil, revealing his belief in conflicts among celestial beings together for balance. 2,21,24,25 The music may also focus on
before the creation of the universe. 15 self-affirmation for the deity within. Neurologically, the
ideal music should calm the amygdala in the brain’s limbic
4. Perspective of theodicy and music system to subdue the fight-or-flight response. Various
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After surveying the background and related literature musical genres have been marketed for this purpose
on theodicy, a common theme that emerges is that an under the labels of New Age, entrainment, meditative, or
individual’s beliefs, perceptions, and views of the power of meta music. 2,21
a deity or God affect or determine various outcomes. This 4.3. External/authoritarian God-view
is one of the themes explored in the Book of Job, where all
the characters had their own view of God and responded Individuals with an external/authoritarian God-view
to Job’s suffering accordingly. I contend that our view of believe in a God or deity outside of themselves. However,
God influences the music we choose to engage with during this God or deity is perceived as disconnected from
suffering. 3,5,7 Therefore, I offer my perspective on four humanity, requiring systematic works and actions to
classifications of “God-views” and their influence on the reconcile or make peace. 26-28 These individuals desire self-
type of music that may be used during suffering: no God- preservation in the physical world and, perhaps, in the
view, internal God-view, external/authoritarian God-view, afterlife. They will work to do what is necessary to reconcile
and transcendent/transformational God-view. and appease the authoritarian God within their belief
system, set of laws, or dogma. Some may believe that they
4.1. No God-view were once connected to God but became disconnected
Individuals with no God-view believe that neither an due to their transgressions; suffering may be the result of
external nor internal God exists. 16-18 Many of these this disconnection. Reconnection can be achieved if the
individuals are anchored in science and subscribe to appropriate work or sacrifice is evident. 20,27,28 Therefore,
evolutionary or multiverse theories. They perceive individuals with an external/authoritarian God-view
suffering as resulting from natural causes because they may prefer ritualistic compositions or those based on
believe there is no all-powerful God or deity. 17-19 Some may strict criteria and standards defined according to their
acknowledge that they experience feelings of spirituality dogma. 27,28 The music could range from repetitive chants,
but attribute these experiences to the imagination as as part of a ritual, to large-scale compositions that satisfy
a coping mechanism for life and suffering. 18,20,21 Those specific esthetic criteria. 27,28
with no God-view may choose music that questions the
purpose of life or reflects defiance and helplessness, such as 4.4. Transcendent/transformational God-view
emo music – a form of 1980s punk rock that focuses on the Individuals with a transcending/transformational God-
hopelessness of life. Others may prefer music that offers view believe in an external, omnipotent creator God
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relief from the consequences of suffering, opting for genres who is separated from humanity due to His attribute of
with a therapeutic or meditative tone that evoke a spiritual justice. These individuals believe that they were created
5,7
and individualized meaning and purpose for enduring to be connected with God but become disconnected due
distress. Finally, some may respond to highly complex, to human transgression. However, they believe that God
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esthetic musical works, allowing themselves to be engulfed loved all humans and transcended the material world in a
by beauty rather than the ugliness of suffering. 19,20 human form (God’s Son) suffered unjustly, and became a

Volume 3 Issue 1 (2025) 3 doi: 10.36922/ac.3830