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 7
... music with fixed reference pitches – tones within a piece which act as stabilisers–then virtually all musiccan be considered 'tonal', since such tonal stabilisers are extremely common in music worldwide.9)Nor do I want to suggest that this ...
... music with fixed reference pitches – tones within a piece which act as stabilisers–then virtually all musiccan be considered 'tonal', since such tonal stabilisers are extremely common in music worldwide.9)Nor do I want to suggest that this ...
الصفحة 12
... musical phrase or passage may be employed to indicate a character or event in, say, a music-drama of some sort (as so often in Wagner). Units of music, from motifs to whole pieces, can come to acquire an instantly recognisable ...
... musical phrase or passage may be employed to indicate a character or event in, say, a music-drama of some sort (as so often in Wagner). Units of music, from motifs to whole pieces, can come to acquire an instantly recognisable ...
الصفحة 14
... piece of music. Similarly with hearing music: the way a person hears music may be markedly out of line with his/her society's dominant habits. In addition, a rush to trace social meanings and power-plots in music will risk overlooking ...
... piece of music. Similarly with hearing music: the way a person hears music may be markedly out of line with his/her society's dominant habits. In addition, a rush to trace social meanings and power-plots in music will risk overlooking ...
الصفحة 15
... piece of music to the artist who created it, as if it were our task to recover the content of the artist's emotional state when he or she was composing. Thousands of pieces bear little or no resemblance to the composer's emotional ...
... piece of music to the artist who created it, as if it were our task to recover the content of the artist's emotional state when he or she was composing. Thousands of pieces bear little or no resemblance to the composer's emotional ...
الصفحة 16
... music in some way resembles: to say that music expresses an emotion is simply to draw attention to the resemblance.20 ... piece of music, Langer believes, is a non-linguistic presentational symbol. It symbolises human feelings, not by ...
... music in some way resembles: to say that music expresses an emotion is simply to draw attention to the resemblance.20 ... piece of music, Langer believes, is a non-linguistic presentational symbol. It symbolises human feelings, not by ...
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