Resurrection: History & Music

The historian in me liked this:

"Historical investigation, I propose, brings us to the point where we must say that the tomb previously housing a thoroughly dead Jesus was empty, and that his followers saw and met someone they were convinced was this same Jesus, bodily alive though in a new, transformed fashion. The empty tomb on the one hand and the convincing appearances of Jesus on the other are the two conclusions the historian must draw. I do not think that history can force us to draw any particular further deductions beyond these two phenomena; the conclusion the disciples drew is there for the taking, but it is open to us, as it was to them, to remain cautious. Thomas waited a week before believing what he had been told. On Matthew’s mountain, some had their doubts.



However, the elegance and simplicity of explaining the two outstanding phenomena, the empty tomb and the visions, by means of one another, ought to be obvious. Were it not for the astounding, and world-view-challenging, claim that is thereby made, I think everyone would long since have concluded that this was the correct historical result. If some other account explained the rise of Christianity as naturally, completely and satisfyingly as does the early Christians’ belief, while leaving normal worldviews intact, it would be accepted without demur.


That, I believe, is the result of the investigation I have conducted. There are many other things to say about Jesus’ resurrection. But, as far as I am concerned, the historian may and must say that all other explanations for why Christianity arose, and why it took the shape it did, are far less convincing as historical explanations than the one the early Christians themselves offer: that Jesus really did rise from the dead on Easter morning, leaving an empty tomb behind him. The origins of Christianity, the reason why this new movement came into being and took the unexpected form it did, and particularly the strange mutations it produced within the Jewish hope for resurrection and the Jewish hope for a Messiah, are best explained by saying that something happened, two or three days after Jesus’ death, for which the accounts in the four gospels are the least inadequate expression we have."

The musician in me liked this:

First, that there's a key we're playing in: that's the key of the gospel of the kingdom or dream of God. Second, that there's a rhythm we're working with: that's the rhythm of Jesus' birth, life, death, resurrection, and indwelling. Third, that there's a band leader who calls the tune and sets the rhythm: that's the Father, Son, and Holy Spirit. Fourth, that there's a chart, the Bible, that gives us some basic chords and notes and melodies to learn by heart and play from the heart. Fifth, that the chart makes room to improvise - that each of us has the freedom, opportunity, and even responsibility to let loose and make our unique solo contribution, always being sensitive to what the other musicians are doing and to the integrity of our song. Sixth, that there are dynamics to be respected - you don't play too loud, you don't solo too often or too long. And seventh, that there is a goal - to get people up off their seats and dancing with joy to the music of God, so they're caught up in the glorious dance, something bigger than any of us, something that enfolds all of us in God's song of celebration and love.