Albert Amos Banda
Abstract
This paper presents a musico-theological response to Dotterer’s finitistic theism and explores its potential for influencing the future of African Christianity. Dotterer’s finitistic theism posits a limited and evolving conception of God, contrasting with the traditional African Christian theological framework, emphasising an omnipotent and omniscient deity. The term “musico-theology” is deliberately coined to position the discussion within the field of music while maintaining a theological focus. The paper begins with an overview of Dotterer’s finitistic theism, outlining its key tenets and philosophical foundations. It then introduces a musico-theological framework, demonstrating how music in African Christianity is a vital medium for theological expression. Paul’s composition in Romans 11:33-36, commonly referred to as “Doxology,” is used as a template to illustrate the use of song as a tool for apologetics, offering a counterpoint to Dotterer’s theism. This paper critically engages with Dotterer’s propositions, providing insights into how the musical traditions of the African people can reshape theological discourse. The paper argues that African Christian music, when rooted in cultural expressions, serves as a powerful vehicle for conveying sound theological truths, with significant implications for the future of African Christianity. The paper adopts a descriptive and analytic method to achieve these objectives.