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 4
... present, the growing literature on the politics, sociology and psychology of music, the recent emergence of ethnomusicology, and the intriguing deployment of musical metaphors by natural scientists. In the chapters which follow, we ...
... present, the growing literature on the politics, sociology and psychology of music, the recent emergence of ethnomusicology, and the intriguing deployment of musical metaphors by natural scientists. In the chapters which follow, we ...
الصفحة 12
... present mode of interest in music; it would appear to belong to the heart of the way music turns sounds into tones. This feature of music is crucial to the main concerns of this book. Music's interconnectedness Nevertheless, we should ...
... present mode of interest in music; it would appear to belong to the heart of the way music turns sounds into tones. This feature of music is crucial to the main concerns of this book. Music's interconnectedness Nevertheless, we should ...
الصفحة 22
... present, structure is built primarily on relations. 28. In Kristeva's words, 'the musical code is organised by the arbitrary and cultural (imposed within the frameworks of a certain civilisation) difference between various local values ...
... present, structure is built primarily on relations. 28. In Kristeva's words, 'the musical code is organised by the arbitrary and cultural (imposed within the frameworks of a certain civilisation) difference between various local values ...
الصفحة 23
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الصفحة 24
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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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عبارات ومصطلحات مألوفة
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