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Visualize Hearing Theomusicology: An Apologetic Approach

Visualize Hearing Theomusicology: An Apologetic Approach

Last updated on: November 9, 2026 at 6:36 am by Alan Lechusza Aquallo

Visualize Hearing Theomusicology: An Apologetic Approach 2026-11-09T06:36:48-08:00 Alan Lechusza Aquallo

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“See then that you walk circumspectly, not as fools but as wise, redeeming the time, because the days are evil” (Ephesians 5: 15-16 NKJV).

We’re reminded that faith comes by hearing; hearing the Word of God.

“So then faith comes by hearing, and hearing by the word of God” (Romans 10:17 NKJV).

Adding the visual component should not reduce this knowledge if we do not depend exclusively on the visual, but put our faith in the unseen (Hebrews 11: 1).

In a global society destined to give preference to the visual, how can we engage this sense with biblical knowledge to understand and activate biblical truth? Can both hearing and seeing together give an expanded range of biblical knowledge? The obvious answer would be “Yes.” The lived experience and reality is, however, that we will tend to put more credibility and value on one sense over the other. Does that, then, obfuscate the modern dilemma of finding methods to internalize, express, and fortify biblical knowledge in our faith-based lives?

If the answer remains “Yes,” then how do we generate a visual-learning strategy to see beyond the limitations of contemporary consumer globalized culture? Likewise, is it possible to unhear or delisten to the soundtrack of modernity to remain sonically grounded in Scripture? The process of active dismissal is more than an existential phenomenological practice.

There is an applied methodology to employ, revise, refresh, and resume both visually and sonically to ground biblical attention and scriptural focus. The added proverbial good news is that this process, methodologically, can be completed with firm grooves, mind-breaking raps, and visually stunning images, all in the name of applied biblical knowledge/truth through theomusicology.

Photo | Divine light illuminating the Ngorongoro Crater | courtesy of Giles Laurent, Wikimedia Creative Commons

Truth Visualized As Discipleship

In his study of the book of Titus, Pastor JD Grear of Summit Church presented three views of how Christians can begin to see their religious discipline, devotion, and direction of their individual relationship with Christ.

Pastor JD Grear offers three critical perspectives of Looking Backward, Looking Forward, and Looking Upward (Vertically). Working together in concert, these three viewpoints act as personal theological and socio-religious gaze for personal understanding, recognition, and progressive development in one’s walk as a contemporary Christian. Looking Backward is a critical gaze from where one originated pre-Christian living.

The reflexive attention is useful to understand one’s progress to their current position; what state has one arrived from where the individual journey and relationship started. The idea is not to be located in a reflective reversal, but to personally contextualize the trajectory one is entertaining from a starting point to the present. This personal phenomenological assignment is a temporary practice to encourage further growth, commitment, and realign one’s biblical knowledge and devotion.

Looking Forward is the next logical gaze toward the arc of one’s Christian life. Ascertaining how much further one has potentially to grow balances the reflective Looking Backward information collected. The balanced scales of these two perspectives allow one to gain encouragement for their future. The practice is to recognize that the journey of sanctification is the proverbial ongoing journey, a complex dynamic outlined by daily lived experiences and realities that are to be involved with scripture discipline and devotion. Looking Forward is less about seeking an ending point of religious growth, but rather as a mechanism to sidestep or overstep pitfalls that can derail biblical knowledge inclusion, socio-religious activism, and individual-to-community discipleship.

Both Looking Backward and Looking Forward dislocate an individual from their present space and place. Giving attention to the scaffolding of the present tense, Looking Backward and Looking Forward work in tandem to mobilize one’s faith-based journey. The question asked is the answer itself: “Where is the journey going?” The simplistic answer is to God’s Kingdom, heaven.

Pastor JD Grear articulates this with the last viewpoint of Looking Upward, or vertically. This last pillar provides one the ultimate yet strong faith-based viewpoint of the three viewpoints. Looking Upward/vertically is the direction where one challenges their current space and place to see if it is aligned with and working for God’s design and plan, utilizing the gifts, time, talents, and treasures provided by God. Looking Upward/vertically mobilizes the knowledge ascertained from Looking Backward and Looking Forward. One cannot Look Upward/vertically without balancing this faith-based gaze on the firmly recognized understanding and tied relationship between Looking Backward and Looking Forward.

The most indeterminate from a limited lived experience and reality cognition, Looking Upward/vertically is the articulation of one’s faith, belief, discipline, and devotion harnessed to energize the Looking Forward gaze using the Looking Backward momentum. What is enacted is a praxis of one’s faith-based journey; how one puts one foot in front of the other daily, writing a definition of individual belief in what Christ has done for the world. The grounding of Looking Backward and Looking Forward gives the necessary lift to Look Upward/vertically. How one seeks to align oneself with God’s plan, purpose, and will is the act of Looking Upward/vertically. Not as separate pillars, Looking Backward supports Looking Forward, which together give vision to Look Upward/vertically.

Biblical knowledge accompanies faith-based growth through sanctification. Looking Backward supports the involvement of biblical knowledge. Looking Forward gives strength and encouragement to express persistent biblical growth and application. Looking Upward/vertically is the gaze and repositioned movement for one through the striving to understand and express God’s plan, purpose, and will for one’s life. The gifts from God, with the guidance of the Spirit, are how Looking Upward/vertically has presence.

It is at the core application of one’s gifts when enacted thankfully with gratitude, as a devotion with discipline, that the gaze of Looking Upward/vertically, investing the energy of Looking Backward and Looking Forward, that one’s life expressions and realities have the potential to be more than minimal worldly actions but all-encompassing Kingdom conscious expressions of thanksgiving and love to God.

Photo | Sunset illuminating Earth's atmosphere | courtesy of NASA, Wikimedia Creative Commons

Photo | Sunset illuminating Earth’s atmosphere | courtesy of NASA, Wikimedia Creative Commons

Visual Perspective in Applied Analysis

*“*Therefore be imitators of God as dear children. And walk in love, as Christ also has loved us and given Himself for us, an offering and a sacrifice to God for a sweet-smelling aroma” (Ephesians 5: 1-2 NJKV).

Theomusicologically, these three areas (backward, forward, vertical) can be expressed. To see this process, two tracks have been selected: “Someday I’ll Understand” by Leandrea Shanice and “Promise Keeper” from Young Bro. Two different Christian Hip Hop works that can be analyzed on their own. Setting aside such an analysis, their inclusion aids in defining the application of the three areas (backward, forward, vertical) and how they can be heard and internalized: meditation in sound.

Seeing Theomusicology

Taking a look at the scripture verses provided by these artists, the core elements of theomusicology (personal testimony, discipleship, evangelism, biblical knowledge/truth, community, and activism) are put into action. In company with the three viewpoints provided by Pastor JD Grear (Looking Backward, Looking Forward, and Looking Upward/vertically), the provided scriptural verses gain more weight, validity, and grounding.

It Comes Someday

Leandrea Shanice. “Someday I’ll Understand,” (Official Music Video)

Leandrea Shanice explores a present tense with an active past reaching toward a forward-upward vertical connection.

The opening lines frame the present context.

“I ain’t gonna lie/ I’m hurt,”…I’m distraught/”…”I stay to myself/ maybe it’s something I caused/”…”feel like I only got God/”.

The ending phrase of this verse, along with the start of the second verse, are the catalyst,

“tip of the ice on a mission/ reality dreams, never fiction/”.

Identifying her position in the present tense allows the body of the work to float between a reflexive critique of her past, with an ultimate pointing toward a future upward trajectory.

To begin this process, Leandrea Shanice departs from the simple task of remaining silent.

“Thank God that’s not my work/ cuz I come from hurt/…I won’t be silent/ I put in the work/… the devil won’t get off my turbo/ I’m goin’ berserk/ I’m speakin’ to you/ I’m speaking to me at the same time/ and you heard it at first/”.

Breaking away from a closed, silent posture, Leandrea Shanice adopts the practice of living by light (read: speaking) rather than in darkness (read: silence).

“For you were once darkness, but now you are light in the Lord. Walk as children of light (for the fruit of the Spirit is in all goodness, righteousness, and truth), finding out what is acceptable to the Lord. And have no fellowship with the unfruitful works of darkness, but rather expose them. For it is shameful even to speak of those things which are done by them in secret. But all things that are exposed are made manifest by the light, for whatever makes manifest is light. Therefore He says:

‘Awake, you who sleep,
Arise from the dead,
And Christ will give you light’” (Ephesians 5: 8-14 NKJV, emphasis added).

By succumbing to her present circumstances, Leandrea Shanice makes herself vulnerable to the possibilities of a future (Looking Forward) by addressing the past (Looking Backward).

“Felt those fears/ I done felt them tears fall out of my eyes for two straight years/ I ain’t lyin’/ I’mma be honest with them/”.

The past (Looking Backward) becomes a posture of repentance, with the forward (Forward Looking) being a question: a struggle with God’s plan, purpose, and will.

“Hey, I miss my old friends, but I had to burn bridges with you/ Trust me I asked God about a million times why I couldn’t keep chillin’ with you/ Trust me I asked God about a million times why I had to be broken this way/ Trust me I asked God about a million times why I couldn’t just focus the same/Trust me I asked God why the oil comes from the breakin’/ Trust me I asked God when he chose me did [H]e mistake it?/”.

At this point, Leandrea Shanice makes a pivot away from questioning her past (Looking Backward) to her future, which remains riddled with questions and inquiry.

“I asked God to take [H]is plan from me/ God to keep [H]is hand on me/ God to take me out this place/ Cuz there’s a place that I can be/” (emphasis added).

This understanding defines acceptance and dependence on God. Leandrea Shanice recognizes the importance of separation from her past through a physical and emotional struggle that gives the focused attention she mentions to the arc of her future (Looking Forward) and ultimately a situated gaze on the upward/vertical (Looking Upward/verticle).

“But you may not understand what [H]e doin’, but someday you will/ may not understand what [H]e doin’ now, but someday you are/ God to take [H]is plan for me/ got to keep [H]is hand on me/ Got to take me out this place, cuz there’s some place that I can be/”.

The perspective in this pivotal verse shifts from a second-person point of view to a first-person point of view. Why? It’s a lesson to those from her past (Looking Backward) to see how God has transformed her life, the lived experiences, and the “reality dreams [that are] never fiction” Leandrea Shanice mentions, in passing but as an anchor for stabilizing her position to abandon the past to move forward in God’s plan, purpose, and will for her.

The closing lines are the hook of the entire work, that couple together a future and upward/verticle gaze through the act of humility and dependence.

“But you may not understand what [H]e doin’ now/ Someday you will/ May not understand what [H]e doin’ now/ but someday you will/”.

It is the artist herself, Leandrea Shanice, who recalls this phrase, centred in the gospel of John.

“Jesus replied, ‘You don’t understand now what I am doing, but someday you will'” (John 13:7 NIV).

Fitting that the action in this line from John’s gospel is echoed in the entire 2:27 work by Leandrea Shanice. A present tense (“You don’t understand now”) is excited by future potential (“what I am doing”) that ultimately points to a complete binding of a future gazed upon an upward/vertical understanding (“someday you will”).

The use of a four-bar blues structure compacts the work as a tight contemporary Christian Hip Hop work, illustrating the density of biblical knowledge/truth by way of personal inquiry, humility, and dependence. A bold work by Leandrea Shanice that does not cower away from expressing lived experiences and realities as critical locations for biblical knowledge, understanding, and application.

An interesting companion to the work “Someday I’ll Understand” is “Promise Keeper” from Young Bro. Weaving scriptural references through a dense 3:26 track that floats between a lyrical and staccato rap style underscored by an immense open piano trio accompaniment, “Promise Keeper” picks up where “Someday I’ll Understand” leaves.

You Are Who You Say You Are

Young Bro. “Promise Keeper.”

Starting from a present perspective, “Promise Keeper” illustrates the active gaze on the upward/vertical (Looking Upward/verticle). Including specifically the metaphor of the bridegroom (John 3:29; Matthew 9:15; Matthew 25:1–13; Ephesians 5:25–27; Revelation 19:7–9), the track immediately moves from the active present to a fixation of the future.

“Let me sing another song to the bridegroom/ the way that I was designed to/ You told me if I search then I’m really gonna find You/ the one I rely on, I’m keeping my eyes on, it’s true/” (emphasis added).

Directed praise, intentionality, and focus all within a single verse. Young Bro involves God’s plan, purpose, and will immediately, noting that “it’s true.” He follows,

“You are this promise keeper/ never gonna change on me/ never gonna leave me now/ hold your Word so close/ You are, who You say You are/ Hope of Glory in my heart/ Lord you got me/ I’m in awe/” (emphasis added).

The inerrancy of Christ is written in Hebrews 13:8, which Young Bro narrates in the hook of the work.

“Jesus Christ is the same yesterday and today and forever”.

The linguistic dexterity of Young Bro allows his rap to effortlessly float over the sparse music landscape while moving from an active present context to a forward-looking gaze on Christ’s Word (“I’m in awe”).

The second verse continues the same approach, outlining the inerrancy of Christ with more depth from an acute perspective on the future trajectory of his, Young Bro’s “awe” that remains “true.”

“You’re the One that I depend on/ Lord, Your love is the only thing that will ever live on/”.

Qualifying this action, dependence, Young Bro begins to reflect on his past (Looking Backward) to set in motion his projection toward the future (Looking Forward).

“I remember I would get my sin on/ Now I got this living water I’m-a sip on/ it’s deep in my soul/ whom shall I fear when You handle my foes/ dance in Your presence, the shepherd I know/ in the valley You told me I’m not alone/ the Spirit is with me, so tell me how could I ever fold/”.

Gliding through scriptural highlights, Young Bro places his repentance squarely on the transformational power of Christ as the living water (John 4:10–14), and signifiers of Psalm 23, concluding with the power of the Holy Spirit as protection (Ephesians 6:10–11).

Close to a reprise, the last part of the second verse gives more emphasis to the personal transformation (Looking Forward) by the power of Christ’s Word, which is then magnified with a firm gaze toward the faithful upward/vertical (Looking Upward/vertical) reality.

“Living water from the belly, these heavenly melodies in the song/I’m like a child with the faith/ yeah, I’m ready for more/ I’m in the Word like I never even read it before/ I’m in awe, so I’mma treasure the Lord,…/”.

Taking a look at the opening lines of Ephesians 5, Young Bro ties together the living water metaphor with the childlike wonder (“awe”) he continues to reference.

“Therefore be imitators of God as dear children” (Ephesians 5: 1 NKJV).

There are other areas where the faith of a child is referenced in scripture, but this starting point from Ephesians works in conjunction with a later portion of the same chapter.

“And do not be drunk with wine, in which is dissipation; but be filled with the Spirit, speaking to one another in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord, giving thanks always for all things to God the Father in the name of our Lord Jesus Christ, submitting to one another in the fear of God” (Ephesians 5: 18-21 NKJV).

An interesting connection between these two parts from the same chapter of Ephesians.

Young Bro concludes the work with a repeat of the track’s hook.

“You are this promise keeper/ never gonna change on me/ never gonna leave me now/ hold Your Word so close/ You are, who You say You are/ Hope of Glory in my heart/ Lord you got me/ I’m in awe/”.

The tenor of the track “Promise Keeper” rings soundly with a focus on an active future leading to an upward/vertical perspective. The unwavering urgency of the lyrics is balanced with the vacancy of the music and the blue glow of the video. Minimal lighting juxtaposes against the otherwise smothering darkness. The videography is another layered metaphor of how light shines through the darkness, placing due emphasis on the Word; a similar process used by Leandrea Shanice verbally is here by Young Bro visually.

The two tracks may not be exact bookends of each other, yet they serve to underscore how different styles of contemporary Christian Hip Hop employ the core elements of theomusicology while resonating with the three visual approaches to discipleship defined by Pastor JD Greaer (Looking Backward, Looking Forward, Looking Upward/vertical), which, in totality, give light to God’s plan, purpose, and will for individual biblical grounding.

Photo | Fairy of Eagle Nebula | courtesy of NASA, Wikimedia Creative Commons

A Visual Praxis

Looking Backward to begin Looking Forward in recognition of the importance of Looking Upward/vertically should not be overlooked. The gaze is the praxis of faith-based discipleship. When read alongside theomusicology, the active gaze of Looking Backward, Looking Forward, and Looking Upward/vertically entertains the core elements of theomusicology (personal testimony, discipleship, evangelism, biblical knowledge/truth, community, and activism) to further enhance the energy prompted from one’s critical investigation internally (Looking Backward), externally (Looking Forward), and vertically (Looking Upward/vertically).

Individual lived experiences and realities are not the stumbling blocks for sanctification. Pop cultural distractions are not the borders for spiritual growth. Daily setbacks are not the failing point for biblical knowledge, understanding, and application.

When one recognizes their space and place within the act of sanctification, the momentum of reflection (Looking Backward) gives clarity to the trajectory (Looking Forward) in recognizing that the limitations of contemporary space, place, and language are not the ending point for one’s discipleship. Rather, it is the praxis of Looking Backward and Looking Forward that substantiates the necessity for Looking Upward/vertically to see how the gifts (time, talents, treasures) and daily provisions from God are the tools to clarify the focus on God’s plan, purpose, and will.

Christian Hip Hop artists and theomusicology as a whole provide audio reminders of this process, with a solid beat, biblically-centered lyrics, and a gravitational pull to recognize the importance of expressing gratitude. At that juncture, one is actively employing Kingdom consciousness.

To read more from Alan Lechusza Aquallo’s “The Sweatpant Sessions,” please consider subscribing for free and check out others on Patheos.

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About Alan Lechusza Aquallo

Dr. Alan Lechusza is a scholar whose name has become synonymous with critical thought and cultural discourse. He is a thinker and writer who explores popular culture with a critical eye. He holds a PhD and uses his deep, resource-rich understanding to question and redefine how we see art, power, and knowledge. His research covers various topics that aim to break down and rebuild our ideas about culture, artistry, and socio-political authority. Dr. Lechusza closely examines everyday cultural expressions in ways that challenge conventional thinking. His writings make people think and view culture in new ways. Dr. Alan Lechusza wants to create conversations to inspire change and challenge our understanding of how we experience the world. You can read more about the author here.

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