Theology, Music and TimeCambridge University Press, 24/07/2000 - 317 من الصفحات Theology, Music and Time aims to show how music can enrich and advance theology, extending our wisdom about God and God's ways with the world. Instead of asking: what can theology do for music?, it asks: what can music do for theology? Jeremy Begbie argues that music's engagement with time gives the theologian invaluable resources for understanding how it is that God enables us to live 'peaceably' with time as a dimension of the created world. Without assuming any specialist knowledge of music, he explores a wide range of musical phenomena - rhythm, metre, resolution, repetition, improvisation - and through them opens up some of the central themes of the Christian faith - creation, salvation, eschatology, time and eternity, Eucharist, election and ecclesiology. He shows that music can not only refresh theology with new models, but also release it from damaging habits of thought which have hampered its work in the past. |
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الصفحة i
... argues that music's engagement with time gives the theologian invaluable resources for understanding how it is that God enables us to live 'peaceably' with time as a dimension of the created world. Without assuming any specialist ...
... argues that music's engagement with time gives the theologian invaluable resources for understanding how it is that God enables us to live 'peaceably' with time as a dimension of the created world. Without assuming any specialist ...
الصفحة 4
... argued that 'theomusicology' should be recognised as a legitimate discipline (see e.g. Spencer 1991, 1994); theomusicology being 'a musicological method for theologizing about the sacred, the secular, and the profane, principally ...
... argued that 'theomusicology' should be recognised as a legitimate discipline (see e.g. Spencer 1991, 1994); theomusicology being 'a musicological method for theologizing about the sacred, the secular, and the profane, principally ...
الصفحة 5
... arguing that music is best construed primarily as a set of practices, actions involving the integration of many facets of our make-up. Musicis fundamentally about making and receiving sounds, and this book is designed to show some of ...
... arguing that music is best construed primarily as a set of practices, actions involving the integration of many facets of our make-up. Musicis fundamentally about making and receiving sounds, and this book is designed to show some of ...
الصفحة 10
... argue that what we now choose to call a 'work' entails a complex interplay between a 'performance-kind' (types of performance); a set of correctness and completeness rules (rules of correctness specify what constitutes a correct playing ...
... argue that what we now choose to call a 'work' entails a complex interplay between a 'performance-kind' (types of performance); a set of correctness and completeness rules (rules of correctness specify what constitutes a correct playing ...
الصفحة 13
... in the sense of critical theory, that aims above all to expose ideology, must then demonstrate that music is replete with social and political meaning'. (Cook 1998b, 117). 17. I argue this in relation to the arts in Practising music 13.
... in the sense of critical theory, that aims above all to expose ideology, must then demonstrate that music is replete with social and political meaning'. (Cook 1998b, 117). 17. I argue this in relation to the arts in Practising music 13.
المحتوى
II In Gods good time | 69 |
III Time to improvise | 177 |
Bibliography | 281 |
Index of names | 303 |
Index of biblical verses | 307 |
General index | 309 |
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aesthetic argue Augustine Augustine’s Barth beats Beethoven Boulez cadence Cage chapter characteristic chord Christian Christology Church closure composer conception constraints context contingency created creation cultural delay distinctive divine dynamic quality emotional eschatology eschaton especially eucharistic example explored freedom fulfilment Gentiles gift given giving harmony hear human hyperbar Ibid improvisation interaction interplay intrinsic involved Jesus Christ Jews John Tavener Jonathan Kramer Jürgen Moltmann kind Kramer language means melody metre metrical waves motion movement Mozart music’s temporality musical improvisation musicology Myitalics natural theology notes parousia particular past and future patterns Paul Paul’s performance physical world piece of music play postmodern present promise reality relation repetition rhythm rhythmic Ridley Hall Rowan Williams Scruton sense Shepherd and Wicke social sound space speak Spirit Steiner structure Sudnow Tavener Tavener’s tension and resolution theme theological things tion tonal music tones trinitarian unpredictable Zuckerkandl 1956