Adam Perez

Though the book is ostensibly a history of music, it is a project that contributes to the present-day reckoning with the definition of “evangelical” and those who claim the slippery term.

For anyone familiar with the interdisciplinary conversation in theology and the arts, Jeremy Begbie’s name is well known. Begbie has been arguing for music – and arts more broadly – as sites for serious theological engagement for some time (his first major monograph, Theology, Music, and Time, is now a landmark) and has pioneered an approach to doing theology that goes far beyond superficial attempts to get “behind the art” with questions of authorial intent. Begbie’s approach is, as he…