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 10
... structural features (as written down in a score), rather than their acoustical and physical characteristics as experienced.4 But, as many scholars have stressed, this objectification of the musical work is highly questionable.5 People ...
... structural features (as written down in a score), rather than their acoustical and physical characteristics as experienced.4 But, as many scholars have stressed, this objectification of the musical work is highly questionable.5 People ...
الصفحة 14
... structures of music and the formal structural characteristics of social and cultural practices, but the waters here are very muddy, and we have to admit that some commonly quoted accounts of music in relation to cultural concerns have ...
... structures of music and the formal structural characteristics of social and cultural practices, but the waters here are very muddy, and we have to admit that some commonly quoted accounts of music in relation to cultural concerns have ...
الصفحة 16
... structure between emotion and music, and argues that music is an iconic symbol of mental states. Music conveys not ... structure as some segment or segments of emotional life. The dynamic structure of a musical work and the form in which ...
... structure between emotion and music, and argues that music is an iconic symbol of mental states. Music conveys not ... structure as some segment or segments of emotional life. The dynamic structure of a musical work and the form in which ...
الصفحة 18
... structure, moving according to its own logic, compels our feelings to move along with it, and so leads us to rehearse a feeling at which we would not otherwise arrive.'23 Music can therefore not only reflect an emotional disposition ...
... structure, moving according to its own logic, compels our feelings to move along with it, and so leads us to rehearse a feeling at which we would not otherwise arrive.'23 Music can therefore not only reflect an emotional disposition ...
الصفحة 20
... structure of the language (and by people with language competence) as meaningful in their differences, and the 'signified' – the mental concept traditionally. 24. Here I concur with Wayne Bowman when he writes: 'I believe that ...
... structure of the language (and by people with language competence) as meaningful in their differences, and the 'signified' – the mental concept traditionally. 24. Here I concur with Wayne Bowman when he writes: 'I believe that ...
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