soter = "savior" (Gk.) therefore, "soteriological" = "theology of Christ as savior"

How are we saved? What is salvation? These are soteriological concerns.

For the Christian, as chonak mentions, how are we saved by/in Jesus Christ?

Liturgical music theory is not unrelated to soteriological questions. Catholics have a particularly rich theory of salvation, in which we are not only designated as acceptable by God, but are truly made good by God, in such a way that in some real sense we truly merit the goods of heaven, which at the same time are merited by Christ's saving actions.

If we are to truly become good, what should the influence of our sacred music be? This is the question that haunts me

On the other hand, we should avoid a treatment of texts as if they were magical. Fortunately, and interestingly, that works both ways. Sentimental, shall we say, texts with which people have deep liminal associations are not magical, either (though they may treat them that way). I think the most vital (in the sense of liveliness - and loveliness...) foundation for promoting scriptural texts is that: in Scripture we encounter the real presence of the Jesus - the Word made flesh. (Yes, it's a real presence. Not the presence par excellence as in the Most Blessed Sacrament, but one of a few real presences of Jesus in liturgical prayer.) So, the Church has promoted that encounter since its earliest age, and it is on that basis that we promote it. The promotion is not a cudgel - unless we do it in the wrong way.

I agree. And, the question also concerns the music that heightens the communicative words. What should the music be?

Meekness and whisper, yes. Sacred music has, in a way, an incarnational character: it is the Word which takes its dwelling place in the melody, uttered by our human voice. Sacred song is therefore, much like the Virgin Mary, a humble servant of the Lord.

Is this correct: in sacred music Christ descends to be present in our earthly lives and reveal himself to us, so we, by means of partaking in the same music, may ascend to the divine realm.

Liam

I was talking more generally, not only limited to this thread. My regrets.

And thanks to William for the truly compelling notions that have surfaced. I, too, am not quite "getting" Liam's concern of, what, coercian (?), or how that applies in our realm. And Kathy, you could help me out by providing a sort of scenario that demonstrates the "hot topic" aspect, thanks. C

Well I must confess (and did @CCW) that I'm coming around more and more to the dialectic that Peter K consistently advances. The rub, as ever, are the real world politics of parish leadership.
Hanging in there for now! Thanks.

Yes. The veil is lifted and we are really there.

At the same time, the liturgy moves us toward there, as our home. How do we help that process along?

Hmm. Children are beautiful free moral agents, but, as the church agrees, I think, are not yet ready to 'choose' anything.

Except for that word 'melody' I was about to 'thank' you smvanroode. Careful please about musical specifics. I really don't think most musicians in sacred service want 'melody' to be the pre-eminent music aspect, any more than rhythm, or harmony, or polictical correctness. In fact, probably few musicians in any field including the latest dubstep, despite the respect they may hold for melody, would want your statement as dogma.

I am loving this thread, as my mind is often occupied with the question of how we move towards heaven, and any contributions I hope to make in that area, especially through training singers in sacred music.

As an aside, after the age of reason, children can become increasingly free to choose their own acts and can be held responsible for them. This is why they receive the sacrament of penance at an early age, and why we have children among canonized saints.