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For Olivier Messiaen, music was a way of expressing his faith. He
considered it his good fortune to have been born a Catholic and
declared that 'the illumination of the theological truths of the
Catholic faith is the first aspect of my work, the noblest and no
doubt the most useful'. Messiaen is one of the most widely
performed and recorded composers of the twentieth-century and his
popularity is increasing, but the theological component of his
music has so far largely been neglected, or dealt with
superficially, and continues to provide a serious impediment to
understanding and appreciating his music for some of his audience.
Messiaen the Theologian makes a significant contribution to
Messiaen studies by providing cultural and historical context to
Messiaen's theology. An international array of Messiaen scholars
cover a wide variety of topics including Messiaen's personal
spirituality, the context of Catholicism in France in the twentieth
century, and comparisons between Messiaen and other artists such as
Dante and T.S. Eliot. Interdisciplinary methodologies such as
exegesis, theological studies and analysis are used to contribute
to the understanding of several major works including A0/00clairs
sur l'au-delA!..., Sept HaA-kaA- and Saint FranAois d'Assise. By
approaching Messiaen and his music from such important and original
perspectives, this book will be of interest not only to musicians
and theologians, but also to readers interested in the connection
between spirituality and the arts.
As one of only a few pieces not primarily inspired by Messiaen's
Catholic faith, but by human love as described in the romance of
Tristan and Isolde and elsewhere, the Turangalîla-symphonie is
contextualized in Messiaen's oeuvre and as a genre piece. Using
previously untranslated information from Messiaen's own description
of the work in his Traité, close analysis of the music seeks to
demystify some of the complex innovations he made to his musical
language, especially in the areas of rhythm and orchestration. This
Element pays special attention to the fragmentary and elusive
program which is explained with reference to Messiaen's fascination
with surrealism at this time. Information is included on the
commission and composition of the piece, its premiere by the Boston
Symphony Orchestra conducted by Leonard Bernstein, its revision by
Messiaen in 1990, and its reception history in both live and
recorded performances.
For Olivier Messiaen, music was a way of expressing his faith. He
considered it his good fortune to have been born a Catholic and
declared that 'the illumination of the theological truths of the
Catholic faith is the first aspect of my work, the noblest and no
doubt the most useful'. Messiaen is one of the most widely
performed and recorded composers of the twentieth-century and his
popularity is increasing, but the theological component of his
music has so far largely been neglected, or dealt with
superficially, and continues to provide a serious impediment to
understanding and appreciating his music for some of his audience.
Messiaen the Theologian makes a significant contribution to
Messiaen studies by providing cultural and historical context to
Messiaen's theology. An international array of Messiaen scholars
cover a wide variety of topics including Messiaen's personal
spirituality, the context of Catholicism in France in the twentieth
century, and comparisons between Messiaen and other artists such as
Dante and T.S. Eliot. Interdisciplinary methodologies such as
exegesis, theological studies and analysis are used to contribute
to the understanding of several major works including A0/00clairs
sur l'au-delA!..., Sept HaA-kaA- and Saint FranAois d'Assise. By
approaching Messiaen and his music from such important and original
perspectives, this book will be of interest not only to musicians
and theologians, but also to readers interested in the connection
between spirituality and the arts.
Andrew Shenton's groundbreaking cross-disciplinary approach to
Messiaen's music presents a systematic and detailed examination of
the compositional techniques of one of the most significant
musicians of the twentieth century as they relate to his desire to
express profound truths about Catholicism. It is widely accepted
that music can have mystical and transformative powers, but because
'pure' music has no programme, Messiaen sought to refine his
compositions to speak more clearly about the truths of the Catholic
faith by developing a sophisticated semiotic system in which
aspects of music become direct signs for words and concepts. Using
interdisciplinary methodologies drawing on linguistics, cognition
studies, theological studies and semiotics, Shenton traces the
development of Messiaen's sign system using examples from many of
Messiaen's works and concentrating in particular on the Meditations
sur le mystere de la Sainte Trinite for organ, a suite which
contains the most sophisticated and developed use of a sign system
and represents a profound exegesis of Messiaen's understanding of
the Catholic triune God. By working on issues of interpretation,
Shenton endeavours to bridge the traditional gap between scholars
and performers and to help people listen to Messiaen's music with
spirit and understanding.
Andrew Shenton's groundbreaking cross-disciplinary approach to
Messiaen's music presents a systematic and detailed examination of
the compositional techniques of one of the most significant
musicians of the twentieth century as they relate to his desire to
express profound truths about Catholicism. It is widely accepted
that music can have mystical and transformative powers, but because
'pure' music has no programme, Messiaen sought to refine his
compositions to speak more clearly about the truths of the Catholic
faith by developing a sophisticated semiotic system in which
aspects of music become direct signs for words and concepts. Using
interdisciplinary methodologies drawing on linguistics, cognition
studies, theological studies and semiotics, Shenton traces the
development of Messiaen's sign system using examples from many of
Messiaen's works and concentrating in particular on the Meditations
sur le mystere de la Sainte Trinite for organ, a suite which
contains the most sophisticated and developed use of a sign system
and represents a profound exegesis of Messiaen's understanding of
the Catholic triune God. By working on issues of interpretation,
Shenton endeavours to bridge the traditional gap between scholars
and performers and to help people listen to Messiaen's music with
spirit and understanding.
Arvo Part is one of the most influential and widely performed
contemporary composers. Around 1976 he developed an innovative new
compositional technique called 'tintinnabuli' (Latin for 'sounding
bells'), which has had an extraordinary degree of success. It is
frequently performed around the world, has been used in
award-winning films, and pieces such as Fur Alina and Spiegel im
Siegel have become standard repertoire. This collection of essays,
written by a distinguished international group of scholars and
performers, is the essential guide to Arvo Part and his music. The
book begins with a general introduction to Part's life and works,
covering important biographical details and outlining his most
significant compositions. Two chapters analyze the tintinnabuli
style and are complemented by essays which discuss Part's creative
process. The book also examines the spiritual aspect of Part's
music and contextualizes him in the cultural milieu of the
twenty-first century and in the marketplace.
This essay collection, devoted to exploring the richness of
Christian musical traditions in the Americas, reflects the
distinctive critical perspectives of the Society for Christian
Scholarship in Music, an association of scholars dedicated to
exploring the intersections of Christian faith and musical
scholarship. Now in our sixteenth year, we seek to celebrate our
work in the world and bring it to a larger audience by offering a
cross- section of the most outstanding scholarship from an
international array of writers. The proposed collection follows a
first collection published to celebrate the fifteenth anniversary
of the Society (Exploring Christian Song, M. Jennifer Bloxam and
AndrewShenton, editors, Lexington Books, 2017). That first volume
focused on Christian song in a variety of different contexts. Our
proposed collection surveys a broad geographical areaand
demonstrates the enormous diversity of music-making and scholarship
within that area. While there are some studies that focus on a
single country or region and its sacred music (see the literature
survey below), this will be the first collection to present a
representative cross-section of the range of sacred music in the
Americas and the approaches to studying them in context. The essays
in this collection are ecumenical, reflecting the breadth of
Christian traditions. The essays include several by distinguished
senior scholars in the field (including David Music, Baylor
University; and Jeff Warren, Quest University, Canada). Several
essays are by noted specialists in the field (including Jesse
Karlsberg, Emory University; and Cathy Ann Elias, DePaul
University), and several by younger scholars (including Hannah
Denecke, Florida State University; and Natasha Walsh, York
University, Canada). SCSM is particularly keen to promote the work
of students. The work of these rising stars thus appears alongside
the work of veteran scholars working in the area of Christian
sacred music, ensuring a stimulating mix of subjects, viewpoints,
and methodologies.
Statistically the most performed and listened to contemporary
composer in the world, Arvo Part is a musical and cultural
phenomenon. This book is an essential resource for anyone
interested in his extraordinarily innovative and uniquely appealing
music. Andrew Shenton surveys the full scope of Part's oeuvre,
providing context and chronological continuity while concentrating
in particular on his text-based music, analysing and describing
individual pieces and techniques such as tintinnabulation. The book
also explores the spiritual and theological contexts of Part's
creativity, and the challenges of performing his work. This volume
is the definitive guide for readers looking to engage with the
form, content, and context of Part's compositions, as Shenton
situates Part in the narrative of metamodernism and suggests new
ways of understanding this unique and beautiful music.
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Exploring Christian Song (Hardcover)
M. Jennifer Bloxam, Andrew Shenton; Contributions by M. Jennifer Bloxam, Joshua Kalin Busman, Stephen A. Crist, …
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R3,836
Discovery Miles 38 360
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Ships in 10 - 15 working days
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This essay collection celebrates the richness of Christian musical
tradition across its two thousand year history and across the
globe. Opening with a consideration of the fourth-century
lamp-lighting hymn Phos hilaron and closing with reflections on
contemporary efforts of Ghanaian composers to create Christian
worship music in African idioms, the ten contributors engage with a
broad ecumenical array of sacred music. Topics encompass Roman
Catholic sacred music in medieval and Renaissance Europe, German
Lutheran song in the eighteenth century, English hymnody in
colonial America, Methodist hymnody adopted by Southern Baptists in
the nineteenth century, and Genevan psalmody adapted to respond to
the post-war tribulations of the Hungarian Reformed Church. The
scope of the volume is further diversified by the inclusion of
contemporary Christian topics that address the evangelical methods
of a unique Orthodox Christian composer's language, the shared aims
and methods of African-American preaching and gospel music, and the
affective didactic power of American evangelical "praise and
worship" music. New material on several key composers, including
Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach,
Zoltan Kodaly, and Arvo Part, appears within the book. Taken
together, these essays embrace a stimulating variety of
interdisciplinary analytical and methodological approaches, drawing
on cultural, literary critical, theological, ritual,
ethnographical, and media studies. The collection contributes to
discussions of spirituality in music and, in particular, to the
unifying aspects of Christian sacred music across time, space, and
faith traditions. This collection celebrates the fifteenth
anniversary of the Society for Christian Scholarship in Music.
Arvo Part is one of the most influential and widely performed
contemporary composers. Around 1976 he developed an innovative new
compositional technique called 'tintinnabuli' (Latin for 'sounding
bells'), which has had an extraordinary degree of success. It is
frequently performed around the world, has been used in
award-winning films, and pieces such as Fur Alina and Spiegel im
Siegel have become standard repertoire. This collection of essays,
written by a distinguished international group of scholars and
performers, is the essential guide to Arvo Part and his music. The
book begins with a general introduction to Part's life and works,
covering important biographical details and outlining his most
significant compositions. Two chapters analyze the tintinnabuli
style and are complemented by essays which discuss Part's creative
process. The book also examines the spiritual aspect of Part's
music and contextualizes him in the cultural milieu of the
twenty-first century and in the marketplace.
|
Exploring Christian Song (Paperback)
M. Jennifer Bloxam, Andrew Shenton; Contributions by M. Jennifer Bloxam, Joshua Kalin Busman, Stephen A. Crist, …
|
R1,592
Discovery Miles 15 920
|
Ships in 10 - 15 working days
|
This essay collection celebrates the richness of Christian musical
tradition across its two thousand year history and across the
globe. Opening with a consideration of the fourth-century
lamp-lighting hymn Phos hilaron and closing with reflections on
contemporary efforts of Ghanaian composers to create Christian
worship music in African idioms, the ten contributors engage with a
broad ecumenical array of sacred music. Topics encompass Roman
Catholic sacred music in medieval and Renaissance Europe, German
Lutheran song in the eighteenth century, English hymnody in
colonial America, Methodist hymnody adopted by Southern Baptists in
the nineteenth century, and Genevan psalmody adapted to respond to
the post-war tribulations of the Hungarian Reformed Church. The
scope of the volume is further diversified by the inclusion of
contemporary Christian topics that address the evangelical methods
of a unique Orthodox Christian composer's language, the shared aims
and methods of African-American preaching and gospel music, and the
affective didactic power of American evangelical "praise and
worship" music. New material on several key composers, including
Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach,
Zoltan Kodaly, and Arvo Part, appears within the book. Taken
together, these essays embrace a stimulating variety of
interdisciplinary analytical and methodological approaches, drawing
on cultural, literary critical, theological, ritual,
ethnographical, and media studies. The collection contributes to
discussions of spirituality in music and, in particular, to the
unifying aspects of Christian sacred music across time, space, and
faith traditions. This collection celebrates the fifteenth
anniversary of the Society for Christian Scholarship in Music.
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