Theology, Music and TimeTheology, 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. |
From inside the book
Results 1-5 of 55
Page 6
... intrinsically superior or because I believe music can or should be sealed off from everything extra-musical, but because such musicis best at throwing into relief the peculiar properties of musical sounds I wish to highlight and the ...
... intrinsically superior or because I believe music can or should be sealed off from everything extra-musical, but because such musicis best at throwing into relief the peculiar properties of musical sounds I wish to highlight and the ...
Page 10
... intrinsic connection to the circumstances of their production or reception, and as if they were best understood in terms of their structural features (as written down in a score), rather than their acoustical and physical ...
... intrinsic connection to the circumstances of their production or reception, and as if they were best understood in terms of their structural features (as written down in a score), rather than their acoustical and physical ...
Page 11
... intrinsic theories which lay the principal stress on the relationships between the constituent elements of music itself.8 The history of musical aesthetics 'may well impress us as a kind of pendulum, swinging between these two ...
... intrinsic theories which lay the principal stress on the relationships between the constituent elements of music itself.8 The history of musical aesthetics 'may well impress us as a kind of pendulum, swinging between these two ...
Page 12
... intrinsically interrelated to preceding and coming sounds. This is not an accidental feature of music derived from our present mode of interest in music; it would appear to belong to the heart of the way music turns sounds into tones ...
... intrinsically interrelated to preceding and coming sounds. This is not an accidental feature of music derived from our present mode of interest in music; it would appear to belong to the heart of the way music turns sounds into tones ...
Page 13
... intrinsically by virtue of the properties of sounds, and of sound-producing and sound-receiving entities. 'Pure music ... intrinsic ties to contingent, shared human interests.16 Music always, to some extent, embodies social and cultural ...
... intrinsically by virtue of the properties of sounds, and of sound-producing and sound-receiving entities. 'Pure music ... intrinsic ties to contingent, shared human interests.16 Music always, to some extent, embodies social and cultural ...
Contents
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 |
Other editions - View all
Common terms and phrases
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