The Princeton Theological Review is a journal that contains articles on various theological topics such as biblical studies, church history, and theology. It also includes reviews of books relevant to these areas as well as news and notes regarding the seminary and its faculty and students. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"The conversation between music and theology, dormant for too long in recent years, is at last gathering pace. And rightly so. There will always be theologians who will regard music as a somewhat peripheral concern, too trivial to trouble the serious scholar, and in any case almost impossible to engage because of its notorious resistance to words and concepts. But an increasing number are discovering again what many of our forbears realized centuries ago, that the kinship between this pervasive feature of human life and the search for a Christian 'intelligence of faith' is intimate and ineradicable. Maeve Heaney's ambitious, wide-ranging, and energetic book pushes the conversation further forward still. Her approach is unapologetically theological, grounded in the passions and concerns of mainstream doctrinal theology. And yet she is insisting . . . that music must be given its due place in the ecology of theology. Although convinced that music should not be set up as a rival to linguistic or conceptual articulation, let alone swallow up 'traditional' modes of theological language and thought, she is equally convinced that music is an irreducible means of coming to terms with the world, a unique vehicle of world-disclosure, and as such, can generate a particular form of 'understanding': 'there are things which God may only be saying through music.' If this is so, it is incumbent on the theologian to listen." --Jeremy Begbie, from the Foreword

Includes section "Reviews of recent literature."

Many sincere, Bible-believing Christians are Calvinists only by default. Thinking that the only choice is between Calvinism (with its presumed doctrine of eternal security) and Arminianism (with its teaching that salvation can be lost), and confident of Christ's promise to keep eternally those who believe in Him, they therefore consider themselves to be Calvinists. It takes only a few simple questions to discover that most Christians are largely unaware of what John Calvin and his early followers of the sixteenth and seventeenth centuries actually believed and practiced. Nor do they fully understand what most of today's leading Calvinists believe. Although there are disputed variations of the Calvinist doctrine, among its chief proponents (whom we quote extensively in context) there is general agreement on certain core beliefs. Many evangelicals who think they are Calvinists will be surprised to learn of Calvin's belief in salvation through infant baptism and of his grossly un-Christian behavior, at times, as the "Protestant Pope" of Geneva, Switzerland. Most shocking of all, however, is Calvinism's misrepresentation of God, who "is love." It is our prayer that this volume will enable readers to examine more carefully the vital issues involved and to follow God's holy Word­--not man's teachings. "The first edition of this book was greeted by fervent opposition and criticism from Calvinists. In this enlarged and revised edition I have endeavored to respond to the critics." --Dave Hunt

Includes section "Reviews of recent theological literature".