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The flourishing of religious or spiritually-inspired music in the
late twentieth and early twenty-first centuries remains largely
unexplored. The engagement and tensions between modernism and
tradition, and institutionalized religion and spirituality are
inherent issues for many composers who have sought to invoke
spirituality and Otherness through contemporary music. Contemporary
Music and Spirituality provides a detailed exploration of the
recent and current state of contemporary spiritual music in its
religious, musical, cultural and conceptual-philosophical aspects.
At the heart of the book are issues that consider the role of
secularization, the claims of modernity concerning the status of
art, and subjective responses such as faith and experience. The
contributors provide a new critical lens through which it is
possible to see the music and thought of Cage, Ligeti, Messiaen,
Stockhausen as spiritual music. The book surrounds these composers
with studies of and by other composers directly associated with the
idea of spiritual music (Harvey, Gubaidulina, MacMillan, Part,
Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw,
Ferneyhough, Ustvolskaya, and Vivier) who have created original
engagements with the idea of spirituality. Contemporary Music and
Spirituality is essential reading for humanities scholars and
students working in the areas of musicology, music theory,
theology, religious studies, philosophy of culture, and the history
of twentieth-century culture.
The flourishing of religious or spiritually-inspired music in the
late twentieth and early twenty-first centuries remains largely
unexplored. The engagement and tensions between modernism and
tradition, and institutionalized religion and spirituality are
inherent issues for many composers who have sought to invoke
spirituality and Otherness through contemporary music. Contemporary
Music and Spirituality provides a detailed exploration of the
recent and current state of contemporary spiritual music in its
religious, musical, cultural and conceptual-philosophical aspects.
At the heart of the book are issues that consider the role of
secularization, the claims of modernity concerning the status of
art, and subjective responses such as faith and experience. The
contributors provide a new critical lens through which it is
possible to see the music and thought of Cage, Ligeti, Messiaen,
Stockhausen as spiritual music. The book surrounds these composers
with studies of and by other composers directly associated with the
idea of spiritual music (Harvey, Gubaidulina, MacMillan, Part,
Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw,
Ferneyhough, Ustvolskaya, and Vivier) who have created original
engagements with the idea of spirituality. Contemporary Music and
Spirituality is essential reading for humanities scholars and
students working in the areas of musicology, music theory,
theology, religious studies, philosophy of culture, and the history
of twentieth-century culture.
Bringing together scholars and researchers in one volume, this
study investigates how the thinking of the Ukrainian-Israeli
somatic educationalist Moshe Feldenkrais (1904-84) can benefit and
reflect upon the creative practices of dance, music and theatre.
Since its inception, the Feldenkrais Method has been associated
with artistic practice, growing contiguously with performance,
cognitive and embodied practices in dance, music, and theatre
studies. It promotes awareness of fine motor action for improved
levels of action and skill, as well as healing for those who are
injured. For creative artists, the Feldenkrais Method enables them
to refine and improve their work. This book offers historical,
scientific and practical perspectives that develop thinking at the
heart of the Method and is divided into three sections: Historical
Perspectives on Creative Practice, From Science into Creative
Practice and Studies in Creative Practice. All the essays provide
insights into self-improvement, training, avoiding injury, history
and philosophy of artistic practice, links between scientific and
artistic thinking and practical thinking, as well as offering some
exercises for students and artistic practitioners looking to
improve their understanding of their practice. Ultimately, this
book offers a rich development of the legacy and the ongoing
relevance of the Feldenkrais Method. We are shown how it is not
just a way of thinking about somatic health, embodiment and
awareness, but a vital enactivist epistemology for contemporary
artistic thought and practice.
Bringing together scholars and researchers in one volume, this
study investigates how the thinking of the Ukrainian-Israeli
somatic educationalist Moshe Feldenkrais (1904-84) can benefit and
reflect upon the creative practices of dance, music and theatre.
Since its inception, the Feldenkrais Method has been associated
with artistic practice, growing contiguously with performance,
cognitive and embodied practices in dance, music, and theatre
studies. It promotes awareness of fine motor action for improved
levels of action and skill, as well as healing for those who are
injured. For creative artists, the Feldenkrais Method enables them
to refine and improve their work. This book offers historical,
scientific and practical perspectives that develop thinking at the
heart of the Method and is divided into three sections: Historical
Perspectives on Creative Practice, From Science into Creative
Practice and Studies in Creative Practice. All the essays provide
insights into self-improvement, training, avoiding injury, history
and philosophy of artistic practice, links between scientific and
artistic thinking and practical thinking, as well as offering some
exercises for students and artistic practitioners looking to
improve their understanding of their practice. Ultimately, this
book offers a rich development of the legacy and the ongoing
relevance of the Feldenkrais Method. We are shown how it is not
just a way of thinking about somatic health, embodiment and
awareness, but a vital enactivist epistemology for contemporary
artistic thought and practice.
The Scottish composer Sir James MacMillan is one of the major
figures of contemporary music, with a world-wide reputation for his
modernist engagement with religious images and stories. Beginning
with a substantial foreword from the composer himself, this
collection of scholarly essays offers analytical, musicological,
and theological perspectives on a selection of MacMillan's musical
works. The volume includes a study of embodiment in MacMillan's
music; a theological study of his St Luke Passion; an examination
of the importance of lament in a selection of his works; a chapter
on the centrality of musical borrowing to MacMillan's practice; a
discussion of his liturgical music; and detailed analyses of other
works including The World's Ransoming and the seminal Seven Last
Words from the Cross. The chapters provide fresh insights on
MacMillan's musical world, his compositional practice, and his
relationship to modernity.
The Scottish composer Sir James MacMillan is one of the major
figures of contemporary music, with a world-wide reputation for his
modernist engagement with religious images and stories. Beginning
with a substantial foreword from the composer himself, this
collection of scholarly essays offers analytical, musicological,
and theological perspectives on a selection of MacMillan's musical
works. The volume includes a study of embodiment in MacMillan's
music; a theological study of his St Luke Passion; an examination
of the importance of lament in a selection of his works; a chapter
on the centrality of musical borrowing to MacMillan's practice; a
discussion of his liturgical music; and detailed analyses of other
works including The World's Ransoming and the seminal Seven Last
Words from the Cross. The chapters provide fresh insights on
MacMillan's musical world, his compositional practice, and his
relationship to modernity.
The French composer Olivier Messiaen is one of the major figures of
twentieth-century music. This collection of scholarly essays offers
new cultural, historical, biographical and analytical perspectives
on Messiaen's musical oeuvre from 1941 to 1992. The volume
includes: a fascinating snapshot of Messiaen's life in occupied
France; a study of the Surrealist poetics of Messiaen's song cycle
Harawi; a chapter on Messiaen's iconoclastic path to the
avant-garde heritage that he bequeathed to his pupils; discussion
on Messiaen's place in twentieth-century music; and detailed
analysis of specific works, including his opera St Francois
d'Assise. The chapters provide fresh insights on the origins, style
and poetics of Messiaen's music, and therefore provide an
inspiration and foundation for future scholarship. Reflecting and
expanding upon the broad range of Messiaen's own interdisciplinary
interests, the book will be of interest to students and scholars of
music, art, literature and theology.
The French composer Olivier Messiaen is one of the major figures of
twentieth-century music. This collection of scholarly essays offers
new cultural, historical, biographical and analytical perspectives
on Messiaen??'s musical ??uvre from 1941 to 1992. The volume
includes: a fascinating snapshot of Messiaen??'s life in occupied
France; a study of the Surrealist poetics of Messiaen??'s song
cycle Harawi; a chapter on Messiaen??'s iconoclastic path to the
avant-garde heritage that he bequeathed to his pupils; discussion
on Messiaen??'s place in twentieth-century music; and detailed
analysis of specific works, including his opera St Fran??ois
d'Assise. The chapters provide fresh insights on the origins, style
and poetics of Messiaen??'s music, and therefore provide an
inspiration and foundation for future scholarship. Reflecting and
expanding upon the broad range of Messiaen??'s own
interdisciplinary interests, the book will be of interest to
students and scholars of music, art, literature and theology.
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