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Theology, Music, and Modernity addresses the question: how can the
study of music contribute to a theological reading of modernity? It
has grown out of the conviction that music has often been ignored
in narrations of modernity's theological struggles. Featuring
contributions from an international team of distinguished
theologians, musicologists, and music theorists, the volume shows
how music-and discourse about music-has remarkable powers to bring
to light the theological currents that have shaped modern culture.
It focuses on the concept of freedom, concentrating on the years
1740-1850, a period when freedom-especially religious and political
freedom-became a burning matter of concern in virtually every
stratum of Western society. The collection is divided into four
sections, each section focusing on a key phenomenon of this
period-the rise of the concept of 'revolutionary' freedom; the move
of music from church to concert hall; the cry for eschatological
justice in the work of black hymn-writer and church leader Richard
Allen; and the often fierce tensions between music and language.
There is a particular concern to draw on a distinctively
'Scriptural imagination' (especially the theme of New Creation) in
order to elicit the key issues at stake, and to suggest
constructive ways forward for a contemporary Christian theological
engagement with the legacies of modernity today.
Every year, Johann Sebastian Bach’s major vocal works are
performed to mark liturgical milestones in the Christian calendar.
Written by a renowned Bach scholar, this concise and accessible
book provides an introduction to the music and cultural contexts of
the composer’s most beloved masterpieces, including the
Magnificat, Christmas Oratorio, and St. John Passion. In addition
to providing historical information, each chapter highlights
significant aspects—such as the theology of love—of a
particular piece. This penetrating volume is the first to treat the
vocal works as a whole, showing how the compositions were embedded
in their original performative context within the liturgy as well
as discussing Bach’s musical style, from the detailed level of
individual movements to the overarching aspects of each work.
Published in the approach to Easter when many of these vocal works
are performed, this outstanding volume will appeal to casual
concertgoers and scholars alike.
Sacred and Secular Intersections in Music of the Long Nineteenth
Century: Church, Stage, and Concert Hall explores interconnections
of the sacred and the secular in music and aesthetic debates of the
long nineteenth century. The essays in this volume view the
category of the sacred not as a monolithic attribute that applies
only to music written for and performed in a religious ritual.
Rather, the "sacred" is viewed as a functional as well as a topical
category that enhances the discourse of cross-pollination of
musical vocabularies between sacred and secular compositions,
church and concert music. Using a variety of methodological
approaches, the contributors articulate how sacred and religious
identities coalesce, reconcile, fuse, or intersect in works from
the long nineteenth century that traverse an array of genres and
compositional styles.
Johann Sebastian Bach was a Lutheran and much of his music was for
Lutheran liturgical worship. As these insightful essays in the
twelfth volume of Bach Perspectives demonstrate, he was also
influenced by--and in turn influenced--different expressions of
religious belief. The vocal music, especially the Christmas
Oratorio, owes much to medieval Catholic mysticism, and the
evolution of the B minor Mass has strong Catholic connections. In
Leipzig, Catholic and Lutheran congregations sang many of the same
vernacular hymns. Internal squabbles were rarely missing within
Lutheranism, for example Pietists' dislike of concerted church
music, especially if it employed specific dance forms. Also
investigated here are broader issues such as the close affinity
between Bach's cantata libretti and the hymns of Charles Wesley;
and Bach's music in the context of the Jewish Enlightenment as
shaped by Protestant Rationalism in Berlin. Contributors: Rebecca
Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey,
Derek Stauff, and Janice B. Stockigt.
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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.
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Exploring Christian Song (Paperback)
M. Jennifer Bloxam, Andrew Shenton; Contributions by M. Jennifer Bloxam, Joshua Kalin Busman, Stephen A. Crist, …
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R1,592
Discovery Miles 15 920
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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.
As the official publication of the American Bach Society, Bach
Perspectives has pioneered new areas of research in the life,
times, and music of Bach since its first appearance in 1995. Volume
8 of Bach Perspectives emphasizes the place of Bach's oratorios in
their repertorial context. These essays consider Bach's oratorios
from a variety of perspectives: in relation to models, antecedents,
and contemporary trends; from the point of view of musical and
textual types; and from analytical vantage points including links
with instrumental music and theology. Christoph Wolff suggests the
possibility that Bach's three festive works for Christmas, Easter,
and Ascension Day form a coherent group linked by liturgy,
chronology, and genre. Daniel R. Melamed considers the many ways in
which Bach's passion music was influenced by the famous poetic
passion of Barthold Heinrich Brockes. Markus Rathey examines the
construction and role of oratorio movements that combine chorales
and poetic texts (chorale tropes). Kerala Snyder shows the
connections between Bach's Christmas Oratorio and one of its
models, Buxtehude's Abendmusiken spread over many evenings.
Laurence Dreyfus argues that Bach thought instrumentally in the
composition of his passions at the expense of certain aspects of
the text. And Eric Chafe demonstrates the contemporary theological
background of Bach's Ascension Oratorio and its musical realization
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