Perhaps unfairly, pop music elicits a variety of negative images—erratic crowds of fangirls, producers who prioritise formulaic constructions over creative innovation, sensational aesthetics trickling down into cheap trends that come as quickly as they go. Charitable accounts of the affective dimension of popular music have been given more recently, both inside and outside theology, but the growing influence of social media on pop music heightens one of the genre’s criticisms: why should one seriously attend to a genre that seemingly relies on mass-appeal in order to maximise market revenue? And, if this is the case, does this negate the potential effect and value of the genre?

Transpositions invites article submissions for a series on pop music and theology. Authors may write on a variety of artists or themes. Of particular relevance for this series are considerations of the genre in light of changing technologies, the prominence of virtual listening spaces, the definition of “popular” forms of music in respect to social media, and how these aspects may influence dialogue in theology and the arts. Articles should be between 1500–2000 words. Please email submissions to Editor-in-Chief Annie Konzelman at by Friday, July 5 for consideration.

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