Various metaphors have been used to shed light on the nature of theology. Drama and symphony are two recent analogies. Along those lines, but in an arena more familiar to me, I want to argue that theology is like jazz piano. Each aspect of the theological task corresponds to the musical task of a jazz musician: there is the player, the bass note and its corresponding key; the “head”, or, first and final chorus; the inner chord voicings; and the audience. Likewise theology has a subject, the Church; a defining material object, God and his revelation; an ultimate goal, love; a process along the way, spiritual formation; and a watching world. Like most jazz, theology has a basic structure, but it also improvises along the way as it interacts with various contextual factors. Different players will emphasize different aspects, and some of the “inner voicings” will be nuanced and particular. The unique theological styles of Augustine, Thomas Aquinas, John Calvin, and Karl Barth exemplify this variety within basic structural unity. Later theologians will borrow certain motifs, and downplay others. Certain notes will ring out loud and clear in one, and you will have to strain your ear to catch it in another. Nevertheless all the basic elements are there, and our own task will be to play this song in its fullness to our present day audience.
(read more: Kleven – Performing Theology)