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Abstract
The necessarily time-laden nature of both human experience and the art form of music opens theological connections between the two, namely, (1) that the Christian expectation of the restoration between God and humanity is enacted through music and (2) that this enactment reveals the cataphatic-apophatic tension at the heart of theological discourse. This method of theological interpretation of music, which emerges from a cross-reading of ontological hermeneutics and Christian theological aesthetics, is applied to two works of popular music: John Coltrane's A Love Supreme (1965) and Liturgy's Aesthethica (2011).
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