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In early modern Europe, music - particularly singing - was the
arena where body and soul came together, embodied in the notion of
musica humana. Kim uses this concept to examine the framework
within which music and song were used to promote moral education
and addresses Renaissance ideas of religion, education and music.
In early modern Europe, music - particularly singing - was the
arena where body and soul came together, embodied in the notion of
musica humana. Kim uses this concept to examine the framework
within which music and song were used to promote moral education
and addresses Renaissance ideas of religion, education and music.
John Merbecke (c.1505-c.1585) is most famous as the composer of the
first musical setting of the English liturgy, The Booke of Common
Praier Noted (BCPN), published in 1550. Not only was Merbecke a
pioneer in setting English prose to music but also the compiler of
the first Concordance of the whole English Bible (1550) and of the
first English encyclopaedia of biblical and theological studies, A
Booke of Notes and Common Places (1581). By situating Merbecke and
his work within a broader intellectual and religio-cultural context
of Tudor England, this book challenges the existing studies of
Merbecke based on the narrow theological approach to the
Reformation. Furthermore, it suggests a re-thinking of the
prevailing interpretative framework of Reformation musical history.
On the basis of the new contextual study of Merbecke, this book
seeks to re-interpret his work, particularly BCPN, in the light of
humanist rhetoric. It sees Merbecke as embodying the ideal of the
'Christian-musical orator', demonstrating that BCPN is an Anglican
epitome of the Erasmian synthesis of eloquence, theology and music.
The book thus depicts Merbecke as a humanist reformer, through
re-evaluation of his contributions to the developments of
vernacular music and literature in early modern England. As such it
will be of interest, not only to church musicians, but also to
historians of the Reformation and students of wider Tudor culture.
This volume provides the first printed critical edition of The
Praise of Musicke (1586), keeping the original text intact and
accompanied by an analytical commentary. Against the Puritan
attacks on liturgical music, The Praise of Musicke, the first
apologetic treatise on music in English, epitomizes the Renaissance
defence of music in civil and religious life. While existing
studies of The Praise of Musicke are limited to the question of
authorship, the present volume scrutinizes its musical discourse,
which recapitulates major issues in the ancient philosophy and
theology of music, considering the contemporary practice of sacred
and secular music. Through an interdisciplinary analysis of The
Praise of Musicke, combining historical musicology with
philosophical theology, this study situates the treatise and its
author within the wider historical, intellectual and religious
context of musical polemics and apologetics of the English
Reformation, thereby appraising its significance in the history of
musical theory and literature. The book throws fresh light on this
substantial but neglected treatise that presents, with critical
insights, the most learned discussion of music from classical
antiquity to the Renaissance and Reformation era. In doing so it
offers a new interpretation of the treatise, which marks a
milestone in the history of musical apologetics.
This volume provides the first printed critical edition of The
Praise of Musicke (1586), keeping the original text intact and
accompanied by an analytical commentary. Against the Puritan
attacks on liturgical music, The Praise of Musicke, the first
apologetic treatise on music in English, epitomizes the Renaissance
defence of music in civil and religious life. While existing
studies of The Praise of Musicke are limited to the question of
authorship, the present volume scrutinizes its musical discourse,
which recapitulates major issues in the ancient philosophy and
theology of music, considering the contemporary practice of sacred
and secular music. Through an interdisciplinary analysis of The
Praise of Musicke, combining historical musicology with
philosophical theology, this study situates the treatise and its
author within the wider historical, intellectual and religious
context of musical polemics and apologetics of the English
Reformation, thereby appraising its significance in the history of
musical theory and literature. The book throws fresh light on this
substantial but neglected treatise that presents, with critical
insights, the most learned discussion of music from classical
antiquity to the Renaissance and Reformation era. In doing so it
offers a new interpretation of the treatise, which marks a
milestone in the history of musical apologetics.
Exploring the nexus of music and religious education involves
fundamental questions regarding music itself, its nature, its
interpretation, and its importance in relation to both education
and the religious practices into which it is integrated. This
cross-disciplinary volume of essays offers the first comprehensive
set of studies to examine the role of music in educational and
religious reform and the underlying notions of music in early
modern Europe. It elucidates the context and manner in which music
served as a means of religious teaching and learning during that
time, thereby identifying the religio-cultural and intellectual
foundations of early modern European musical phenomena and their
significance for exploring the interplay of music and religious
education today.
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Music, Theology, and Justice (Paperback)
Michael O'Connor, Hyun-Ah Kim, Christina Labriola; Contributions by Awet Iassu Andemicael, C. Michael Hawn, …
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R1,499
Discovery Miles 14 990
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Ships in 10 - 15 working days
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Music does not make itself. It is made by people: professionals and
amateurs, singers and instrumentalists, composers and publishers,
performers and audiences, entrepreneurs and consumers. In turn,
making music shapes those who make it-spiritually, emotionally,
physically, mentally, socially, politically, economically-for good
or ill, harming and healing. This volume considers the social
practice of music from a Christian point of view. Using a variety
of methodological perspectives, the essays explore the ethical and
doctrinal implications of music-making. The reflections are grouped
according to the traditional threefold ministry of Christ: prophet,
priest, and shepherd: the prophetic role of music, as a means of
articulating protest against injustice, offering consolation, and
embodying a harmonious order; the pastoral role of music: creating
and sustaining community, building peace, fostering harmony with
the whole of creation; and the priestly role of music: in service
of reconciliation and restoration, for individuals and communities,
offering prayers of praise and intercession to God. Using music in
priestly, prophetic, and pastoral ways, Christians pray for and
rehearse the coming of God's kingdom-whether in formal worship,
social protest, concert performance, interfaith sharing, or
peacebuilding. Whereas temperance was of prime importance in
relation to the ethics of music from antiquity to the early modern
period, justice has become central to contemporary debates. This
book seeks to contribute to those debates by means of Christian
theological reflection on a wide range of musics: including
monastic chant, death metal, protest songs, psalms and worship
music, punk rock, musical drama, interfaith choral singing, Sting,
and Daft Punk.
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Music, Theology, and Justice (Hardcover)
Michael O'Connor, Hyun-Ah Kim, Christina Labriola; Contributions by Awet Iassu Andemicael, C. Michael Hawn, …
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R3,656
Discovery Miles 36 560
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Ships in 10 - 15 working days
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Music does not make itself. It is made by people: professionals and
amateurs, singers and instrumentalists, composers and publishers,
performers and audiences, entrepreneurs and consumers. In turn,
making music shapes those who make it-spiritually, emotionally,
physically, mentally, socially, politically, economically-for good
or ill, harming and healing. This volume considers the social
practice of music from a Christian point of view. Using a variety
of methodological perspectives, the essays explore the ethical and
doctrinal implications of music-making. The reflections are grouped
according to the traditional threefold ministry of Christ: prophet,
priest, and shepherd: the prophetic role of music, as a means of
articulating protest against injustice, offering consolation, and
embodying a harmonious order; the pastoral role of music: creating
and sustaining community, building peace, fostering harmony with
the whole of creation; and the priestly role of music: in service
of reconciliation and restoration, for individuals and communities,
offering prayers of praise and intercession to God. Using music in
priestly, prophetic, and pastoral ways, Christians pray for and
rehearse the coming of God's kingdom-whether in formal worship,
social protest, concert performance, interfaith sharing, or
peacebuilding. Whereas temperance was of prime importance in
relation to the ethics of music from antiquity to the early modern
period, justice has become central to contemporary debates. This
book seeks to contribute to those debates by means of Christian
theological reflection on a wide range of musics: including
monastic chant, death metal, protest songs, psalms and worship
music, punk rock, musical drama, interfaith choral singing, Sting,
and Daft Punk.
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