This section offers some summary reflections on what the foregoing chapters have in common and where they diverge. Although some of the differences between the approaches of Brown and Hopps can be put down to differences in background and style, a deeper reason is the contrasting subject matter with which they are engaged. Not only does popular music still need to be defended against the charge of superficiality, its stratagems for communicating the divine are quite different from those of classical music, and are typically more arch or oblique, involving ambiguities, intimations, and dislocation. The result of which is that there is much less specific content in what is communicated, hence the emphasis in Hopps’s chapters on ineffability and mystery. Nonetheless, two key elements are shared: the conviction that music can be the means of opening us up to divine reality but also a recognition that whether or not this is possible remains heavily dependent on context and prior conditions.