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SALTY Jazz: WORKPLACE DISCIPLESIIP & PASTORAT.CARF FOR MUSICAL ARLISTS ALES! PROJECT SUBMITTED TO THT BACRETY OF GORDON-CONWFTT. THEGLOGICAL SEMINARY IN PARTIAL EULPU.T MENT OF REQUIREMEN I$ FOR THE DEGREL DOCIOR OF MINISTRY BY GINAR. CASEY May ane Copgsight £2016 by Gincs R, Casey, All Rigs Reserved. CONTENTS ACKNOWLEDGMENTS ABSTRACT. (CHAPTER ONF? TIF VEL NERABLE CLIRISTIAS MUSIC ARIST Introduction, Fare Music Masia Ind sey: Challonges aad Baccano Chan Mus Arts and the Che Somaiary CHAPTER N&O: PIBEICAL, FOL NDATIONS FOR ANOTHER WAY Thirudusion A Theology of Wik Teed My Sheep (CHAPTER THRTT: NSIGLITS ANI RLSOLRLES: Insghs Resources Sommaary CHAPTER TOUR: ANLIE BAY 10K € Reseach Metiudelogs Selecta of Pacers Dias Collection ‘use Artis Inrrviewe Pastoral terse CHAPIER FIVE: THE. VICTORIGLS CUIRISTIAN ML SIL AR UST Project Simmuary ‘Obsenvarinns Next Steps inal Tags APHENDIX A: INTARVIEW QUESTIONNAIRE [OR MUSICIANS, APPENDIX Bs INTERVIEW QUESTIONNA IR: FOR PASTORS. ABPERDIX (: PODUAST FVALLATION QUESTIONS, BIBLIOGRATUY vii IRISTIAN MUSIC ARTISTS, ACKNOWLEDGEMEN IS. Lora, Fill ity eyes tthe fis Xupving me hel is coming fom You! Your peciew Yove give ae i tine Of the storm. Youre the source of my steeuerh You are she strength of my life gE nay ns tonal praise 10 Font Amen, Richa Sinall wood, “Total Praise would like 19 express my sinverest live and uppreviatiom for my professors, Di David Gil andl Dor. A! Frismn. Worcs cnnnot adequately convey how guste [arnt ‘ths Lord for ondaining belie the Foundation ol the world cha ont paths would enoss, AS vecnstrucions. they are the perfee!pait ia terms of mnteflect, passion, compass. ane fiendstip. 1 thank you boul for tievely words uf inspiralive und eneveragement through this duvtorad journey. Ann] spociol thanks wo Lucia and Naney for your risers, Kindness, and hospitality. | pray Giod’s continued biessings up you ul [Pe yot the best fami fn thy entire world, and you've all contibuted i voey mporuim. sys tthe completion of this work, ‘Mom, God lias ansswered ray prayers ha T wold complete my doctorate in your Tiketime! You are the nest amd {lowe you se mvelt Auntic Norma, you've always believed in me une pushed me to eseet. uly uppreciate you my favo mimi! 10 my wondeefal siblings, amazing ehildeen, ani the kirules! nd mat caring and Griends in rid ~ hanks dir reading my chapters and listeuing to tae pod Incfng hnatally honest with your feedback, and incredihly yererous with your love, Amt thanks Jie rejuiving with me, los! Don’t huaw what I've dane te descevs you all ae lite Finally. o my hasbond. Duans, whose petience, vnidence unk suppont during this journey has Foun un uplifting source of motivation and peace when 1 needed them ‘most, love you very much! ABSTRACT spose ofthis thesis-projcet is to identify and create wesuucces for Christian ‘music artiste tha sil help them incerpomsis she principlss of fkth as they work inthe ovules industry. ‘he chase is challenged 10 embrace is hic respumsibility rosie diseipleship and poston ene te ts use ass, the ests will be wei <devoloping within Chrisian musie astists a strong workplase thusly, business sthic servant leadership syle ann “sley” wuss for heir workplaces, [a adi. the church sll be stengtiened bes se, Uucough relevant leuchieys and spiciual nustusing. its relationsiip wih its ease aniss will emprove, CUAPTER ONE THR VUENFRABIF CHRISTIAN UUSIC ARTISS Introduetion Christa -masie peeves wha perfor ithe secur muni indusuy ofan find themselves just a susceptible tothe wappings and stoning backs of velit unl seston os tir coups i he LS media nd onerninment (M&EY iedesty Hot “ekioh tog. business sts ineludenuuse and Rm, and the pris an Olyopie spn industries. Consequotas, fou challeues ved by mus ass, a5 ell 4s sa, professional cls Tigres, al Olympic ste ila: 1) sine red ‘money management problems, 24 addietive bshaavier and vsvaeuly abit, 3 failed sartiages and broken slationships, and 4b. unno aed spiral heart Success sovigation naugh those deus xxpives being par of « coreeing clauec that has emivaccd its biblical cl. xo discipleship and 2 bust theology of vce. Iexineeion in a spiritual ecvtonmen! of raising al rutin eam help sedeguard believing music sts ow the dangers ised above, ad cenposser ths to be “sale (Chistian wits their sapices, Te Gaur, however: athe church kT up ‘tsresponsibility im these areas has itl many of our anasic prefessiouals pietvally ‘upretceted and, consequently. vuluerable o the chreats and temptations tspiied hy the susie indusry ur goal is to explore the depth and pervasiveness ot the fist theee prublems Fisted ahuve as they relate ta all anists nthe seeufar mesic industry, andthe fom problem from the perspective of tke relationship of Christian reusie ants to Cie cbureh, luce musie, me ef the mast cUnmcalty diveuse of ane musical artform, witl be the genre ‘tuough witieh the anusic ward al Large will he repnssente ft will algo be used as metaphor vo illusuate spocicte cfemeants of life anal eth, We will cmclue with reccnumuended solutions af suppurt through diy eaablishment of church and patcelnrch aninisris that will be designed apecitically 9 meet the vazque spiritenl and bine reals Christin music artists, June Music One of the areaes ills yiven hy Goal tthe wild is rausie. ls ossenes isa rellevtion of God's appiceiation for aeauty, Music exemplifies wrk asa Ged-vivent lonrlet for beauty and creat vty in tens uf Tabor (e.g. music performer somposer, Irie, urranger. producer, ct.) ad product (c.g. song, scote, album, ete. “Perhaps 1 four of human endeavor iz moce universal. gel mone varied, thun emusic wosking, md all Fi derives Irom Gad’s own lose vl emvic,*! Music has the power ta evoke the gamut at cemotioes ftom frenzy to fear, blss to che blues delight to displewsume, worship ta ‘wariness Inspiration ts new can ffl nur sprite, seth on Hears, sable ote celebrations. ot pump us up for a Hla. tn the B.ble, hoa King, Saul was Seeking ommented and depressed, it was the mellow music af Tavis ham that gelmned hsm dost (1 Sameel 1623 With sureties in gene, voual stytiny, types of Instrumenca production, arrangement, voicing. tempo, thytha, ovement. cenphasis. and application, music nas ‘Go Gy w Au Creton: Pale 199." Theology ef Werk Pj, e, asin amber bp baolsgoirk veild-esamsnt psn and-wnthnake¥- aie: 071 Shad au 20 orginal vet something lor every taste und uesthutic, Cultures, 745, nnd social movemsnts have acca doficed aud distinguised by the omsie they produced or embraved. The Ssving Fra the jave genre usseiciated sill the 19303 and 1940s, fhis was followed hy both the sch und sol] wave and the yt and blues eau! the 1959s, Disco musie"s distine:, danecable sound Gefines the mnid-197Us. and the Grunge Ka aripinated in Seattle harng the 1990, ‘Chek (ann ane the ysdfather af Gin-Ge sic, which is regionally conneesed 19 ‘Washinuton, D.C. soe the home of bluegeass musi isthe Appzhachiun Morir wenly-lisl eentory mosie mgbs became defined by indie geo ps kutows fine inceummeling sty2es like Aoi eer (el described on Twiller ss “SuulFRoek-PlecirorDtoes, in a Blonder, with hot sauce. and bourbon"). While al ot chis is morely a bref snapshot af music in the Unive Sule, the gill of masie isa universally populr, plessurakle, and profits pastime, Jaz hss boca nicknamed Aractice’s classical music, Dara outa The Affican Aanerican’s struggle far Freedom, aulonemy, und need lo improvise, ja22"s muttmnstineus, wos comprised of Aftican, Aftican-Ametiean, Europeu. and Carivbean signs sprung up in Neve Orleans at the end of the nineteenth century. “This cotoral gumbo ‘would serve as broeding ground! for many of the great hybrid musics oF madera tines? From bebop to hip bop ans fram rock ti rap, juss has inTuenee — or “salied™ — rurnermus musiz genres? TI hs rhe power to bar recal ines and became the agency through which “biaeks ang whites were cuming Liyether ithe gime “oom ty ply are Tal Gio, Te Fete of York Cad Lovely Pras 114 7 2 Givi he Shetons of Sze 8. listen to jazz, of extimes as equals!” As it sptoad throughout dhe county, evolved an smocpbed, an took on a unique sylévation in major tig. tke Chieays, New York, San Francisco, St. Louis, and Kans." In each lncalivn, however, de elects ej ibs tiiythmiterichaess, vislity. and synieopation; its improvisational creativity and freedom; ite simple and complex chend pragressions al is va anul-reqamee insiemnentk interplay ~ remained inummable. Disicland, sicing. bebop, Aletha. Bran, ard avid jue ure some ls subgenees A few of the sary pioneers elude Chasis “Buxky olden (conse by soon hisses wT the FL jaz snusiviae, Soa Toplin Tamar Kennedy “Duke” Filingien, Lewis “Stele” Anmstrong. Boal “kotha Mines, ‘William James “Comme” Basie. ad Thamas Wright "Pats" Waller. The all had acrentive tnd shill har! in laying, ae Foundavian fox the apycelaton sad performance of jaz asic swhieh would extend beyond the ation borders to he fae eozners ol Uhe seo: These jazz yrels anil so many others who continu te mak and inlwence the world of music she vrivers,iyricis, aaangers. producers, audio engineers, inoarurentslists, ugers. un performers — are wraced will an exlaordinary mewsure of sroafivity hat toggles the mind of those more nauaisally passionate chan peofciers. lathe samme way Olympiads hanar the shillsund lulents of profesional’ wihletes fron other ‘counties camel vies versa), the great jnaz snd mise festivals hener wmus.cat cohorts and aficioundas cegurdless of rave, nationally, or gender, and appreciate ise whi use = Hue it ander, 300). 22. setae Fat Gand Rap, ing tn Ge ns Coping “Lay MeNcly Fist Notes: Ny OFleane and he Early Root of Jaz," FrenchDuaee Soper #8 pen cova rele ‘heb na sees ve 24,2014, pesmi combustors alt, Ady era FL