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 8
... composers and many forms of music which could throw lighton issues of theology and time are not mentioned. Likewise, many areas of doctrine which could have been drawn into the discussion are left to one side. But my desire is not to be ...
... composers and many forms of music which could throw lighton issues of theology and time are not mentioned. Likewise, many areas of doctrine which could have been drawn into the discussion are left to one side. But my desire is not to be ...
الصفحة 12
... Composers for television, film and video rely heavily on these kinds of connections. But in these instances, what we hear would still be formally justified even if the connections were unknown or ignored. (The fact that the same ...
... Composers for television, film and video rely heavily on these kinds of connections. But in these instances, what we hear would still be formally justified even if the connections were unknown or ignored. (The fact that the same ...
الصفحة 13
... composer. Among other things, this means recognising the enormous variety of. 14. See e.g. Cook (1998b), Higgins (1991), Norris (1989), Hargreaves and North (1997). Theories of the 'self-containedness' of music are members of a larger ...
... composer. Among other things, this means recognising the enormous variety of. 14. See e.g. Cook (1998b), Higgins (1991), Norris (1989), Hargreaves and North (1997). Theories of the 'self-containedness' of music are members of a larger ...
الصفحة 15
... composer's emotions or with the emotion evoked in hearers will inevitably falter.19 Some would argue that there is a resemblance between musical patterns and emotional patterns in the mind. musical sounds in features of the extra-human ...
... composer's emotions or with the emotion evoked in hearers will inevitably falter.19 Some would argue that there is a resemblance between musical patterns and emotional patterns in the mind. musical sounds in features of the extra-human ...
الصفحة 16
... composer may deliberately draw our attention to emotional states–for instance, through a title or other associated texts – it is normally quite possible for the music to be intelligible without attending to the texts or their reference ...
... composer may deliberately draw our attention to emotional states–for instance, through a title or other associated texts – it is normally quite possible for the music to be intelligible without attending to the texts or their reference ...
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