This dissertation justifies the contention that culture contributes to the theological task in an ancillary way to Scripture. Chapter 1 introduces the primary issues. Chapter two interacts with two existing models of theology and culture, which respectively suggest that the theological task transcends and embraces culture. Chapter 2 also introduces a third way, that the theological task should employ culture. Chapter 3 justifies this thesis by demonstrating that culture is inherently a theologically meaningful text for three reasons: (1) God purposed for culture to be an expression of the imago Dei that stages truth in cultural form; (2) Post-Fall culture-producing image-bearers are enriched with truth content via general revelation; and (3) God graciously restrains post- Fall culture-producing image-bearers from being as sinful as they could be and God graciously enables humanity to retain positive epistemological value. Chapter 4 clarifies the worldview orientation antithesis that limits culture's value; though the antithesis limits culture's value in the theological task it does not eliminate it. Chapter 5 summarizes the conclusions set forth in this dissertation and briefly recounts several examples of individuals who model these conclusions rightly and wrongly.

"Christian piano art music" is a small genre, each piece of which belongs seemingly to either Christian music or art music, but by definition to both of them. In spite of its merits this genre has been ignored both by the concert hall because of its religiosity and by the church because of its artistry. However, since God is the One who has infinite creativity and is pleased with our various musical praises, both congregational praise and artistic musical praise has to be dedicated to Him. In chapters 2-5, after the history of music--Christian music, art music, and Christian art music--is examined from a biblical perspective of human history (Creation-the Fall-Redemption-Consummation), the significance of Christian art music is discussed, especially in light of God's common grace and special grace. After discussing the merits of instrumental praise, in chapters 6-9, the selected repertoire of Christian piano art music is introduced, being categorized into four groups--works using hymn or chorale tunes, works related to the Bible, works expressing Christian faith symbolically, and abstract piano works dedicated to God. Finally, the calling as "Christian culture makers" is discussed.

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Made available in DSpace on 2016-03-15T19:48:45Z (GMT). No. of bitstreams: 1 Fernando de Almeida.pdf: 641891 bytes, checksum: 0a9fca13ced0a8239a6b733959c203e6 (MD5) Previous issue date: 2008-02-28 / This dissertation deals with the relationship of Christianity and culture from the perspective of Richard H. Niebuhr, John Gresham Machen, and T. M. Moore`s categorizations. It presents, in these categories of reactions to culture, the transformationist or conversionist point of view as the one to be preferred in this relationship. It identifies the reformer John Calvin as the main exponent and referential of conversionism. The key to the interpretation of the relationship of Christianity and culture is located in the doctrine of common grace. The dissertation draws attention to the heirs of Calvin`s thought, especially Abraham Kuyper, who was the main responsible for the popularization of the doctrine. It also considers the controversy involving the Christian Reformed Church due to internal disagreements around the doctrine of Common Grace. It concludes by demonstrating the theological formula that present-day Calvinists have articulated Concerning this doctrine, reasserting it as the best way to see the relationship of Christianity and culture. / Aborda o relacionamento do Cristianismo e a Cultura a partir das categorizações de Richard H. Niebuhr, John Gresham Machen e T. M. Moore. Apresenta nessas categorias de reações a cultura, o ponto de vista transformacionista ou conversionista como o preferível nessa relação. Identifica o reformador João Calvino como o principal expoente e referencial do conversionismo. Localiza na doutrina da Graça Comum a chave de interpretação da relação do cristianismo com a cultura. Verifica quais influências Calvino recebeu para desenvolver seu posicionamento a respeito da doutrina da Graça Comum. Apresenta os herdeiros do pensamento de João Calvino em especial Abraham Kuyper que foi um dos principais responsáveis pela popularização da doutrina. Disserta sobre a controvérsia envolvendo a Christian Reformed Church por causa de discordâncias em relação à doutrina da Graça Comum. Conclui demonstrando a fórmula teológica que os reformados atuais chegaram a respeito da doutrina reafirmado-a como melhor maneira de enxergar a relação do cristianismo com a cultura.