Over the past decade it has been popular to distinguish between “cultural fundamentalism” and “historic fundamentalism.” Cultural fundamentalism is regarded by its critics as very, very bad. It consists of folksy/outdated traditionalism that has drifted from its quaint, innocuous origins and has entered a bitter, skeptical stage of life—complete with theological errors of a sort that typically attend aging, counter-cultural movements. Historic fundamentalism, which focuses more on basic theological issues, fares a little bit better, but only a very little bit. Critics puzzle over those who accept this label, marveling that anyone would risk associative guilt by lingering near those nasty cultural fundamentalists: “Why not get with the program,” they ask, “and become a conservative evangelical?”
Music had a didactic purpose too (so Col 3:16). This is interesting, because nearly all agree that propositional and prosaic forms of communication are more efficient and precise than non-propositional and poetic forms of communication—at least in the transmission of denotative meaning. So why music? Quite simply, because music adds a connotative and rhetorical dimension to communication that mere words cannot, or at least not efficiently.