{"id":{"repo_id":"ohiolink","oai_identifier":"oai:etd.ohiolink.edu:auhonors1366039234"},"canonical_url":"https://search.dev.ndltd.org/etd/ohiolink/oai:etd.ohiolink.edu:auhonors1366039234","repository":{"repo_id":"ohiolink","name":"OhioLINK","base_url":"https://etd.ohiolink.edu/acprod/odb_etd/ws/oai/oai"},"display":{"title":"Sacred Metalcore: A worship, culture, and missiology study of the Christian metal scene","abstract":"My argument is that the Christian faith can be legitimately enacted within the subculture context of the modern metal music scene. Specifically, I survey important pieces of literature about both the secular and the sacred versions of the metal scene and examine how the Christian faith is put into practice within the scene in terms of worship style and evangelistic tactics. Some object that the metal scene is not fit for Christian practice because of its historical linkage with devil worship, explicit sexual references, profane language, rebellious attitude, violence, and church burnings, but I argue that the redemptive power of Christ and the Godhead is powerful enough to redeem a broken music scene and transform it into a new creation that can bring honor, glory, and praise to the one true God. In addition to surveying the scene and arguing for the legitimacy of it, I also discuss the pros and cons that accompany the translation of the Christian faith into a different cultural context. In the end, I determine that, while the Christian metal scene is not your traditional, Sunday morning church service, the scene is a legitimate form of Christian expression that must be carried out with care and caution because of the gravity and responsibility that accompanies bringing the gospel into a new realm.","abstract_html":"My argument is that the Christian faith can be legitimately enacted within the subculture context of the modern metal music scene. Specifically, I survey important pieces of literature about both the secular and the sacred versions of the metal scene and examine how the Christian faith is put into practice within the scene in terms of worship style and evangelistic tactics. Some object that the metal scene is not fit for Christian practice because of its historical linkage with devil worship, explicit sexual references, profane language, rebellious attitude, violence, and church burnings, but I argue that the redemptive power of Christ and the Godhead is powerful enough to redeem a broken music scene and transform it into a new creation that can bring honor, glory, and praise to the one true God. In addition to surveying the scene and arguing for the legitimacy of it, I also discuss the pros and cons that accompany the translation of the Christian faith into a different cultural context. In the end, I determine that, while the Christian metal scene is not your traditional, Sunday morning church service, the scene is a legitimate form of Christian expression that must be carried out with care and caution because of the gravity and responsibility that accompanies bringing the gospel into a new realm.","abstract_has_math":false,"creators":["Lattimer, Paul"],"institution":"Ashland University Honors Theses","degree_name":"Bachelor of Arts","degree_level":"bachelors","degree_discipline":"Religion","degree_department":null,"school":null,"contributors":["Hovey, Craig"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2012,"date_issued":"2012","date_published":"2012","updated_at":"2026-07-24T03:37:46Z","subjects":["Religion","Music","Christian metal scene","subculture study","Christian worship","missiology","metalcore"],"languages":["English"],"rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. 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Some object that the metal scene is not fit for Christian practice because of its historical linkage with devil worship, explicit sexual references, profane language, rebellious attitude, violence, and church burnings, but I argue that the redemptive power of Christ and the Godhead is powerful enough to redeem a broken music scene and transform it into a new creation that can bring honor, glory, and praise to the one true God. In addition to surveying the scene and arguing for the legitimacy of it, I also discuss the pros and cons that accompany the translation of the Christian faith into a different cultural context. In the end, I determine that, while the Christian metal scene is not your traditional, Sunday morning church service, the scene is a legitimate form of Christian expression that must be carried out with care and caution because of the gravity and responsibility that accompanies bringing the gospel into a new realm."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf","p.75","1.03 MB"]},{"key":"dc:title","label":"Title","values":["Sacred Metalcore: A worship, culture, and missiology study of the Christian metal scene"]}]}],"canonical_facts":{"dc:contributor":["Hovey, Craig"],"dc:creator":["Lattimer, Paul"],"dc:date":["2012"],"dc:description":["My argument is that the Christian faith can be legitimately enacted within the subculture context of the modern metal music scene. Specifically, I survey important pieces of literature about both the secular and the sacred versions of the metal scene and examine how the Christian faith is put into practice within the scene in terms of worship style and evangelistic tactics. Some object that the metal scene is not fit for Christian practice because of its historical linkage with devil worship, explicit sexual references, profane language, rebellious attitude, violence, and church burnings, but I argue that the redemptive power of Christ and the Godhead is powerful enough to redeem a broken music scene and transform it into a new creation that can bring honor, glory, and praise to the one true God. In addition to surveying the scene and arguing for the legitimacy of it, I also discuss the pros and cons that accompany the translation of the Christian faith into a different cultural context. In the end, I determine that, while the Christian metal scene is not your traditional, Sunday morning church service, the scene is a legitimate form of Christian expression that must be carried out with care and caution because of the gravity and responsibility that accompanies bringing the gospel into a new realm."],"dc:format":["application/pdf","p.75","1.03 MB"],"dc:identifier":["http://rave.ohiolink.edu/etdc/view?acc_num=auhonors1366039234"],"dc:language":["English"],"dc:publisher":["Ashland University Honors Theses / OhioLINK"],"dc:rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. It may not be copied or redistributed beyond the terms of applicable copyright laws."],"dc:subject":["Religion","Music","Christian metal scene","subculture study","Christian worship","missiology","metalcore"],"dc:title":["Sacred Metalcore: A worship, culture, and missiology study of the Christian metal scene"],"dc:type":["Electronic Thesis or Dissertation"],"thesis:degree_discipline":["Religion"],"thesis:degree_level":["bachelors"],"thesis:degree_name":["Bachelor of Arts"],"thesis:institution_name":["Ashland University Honors Theses"]},"updated_at":"2026-07-24T03:37:46Z"}