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. |
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Page xiii
... performance provided an inspiration which has never waned, and to James Torrance, who many years ago introduced me to the limitless intellectual wonder of the Christian faith. The Principal, Graham Cray, and the staff and students of ...
... performance provided an inspiration which has never waned, and to James Torrance, who many years ago introduced me to the limitless intellectual wonder of the Christian faith. The Principal, Graham Cray, and the staff and students of ...
Page 4
... Performance is an illuminating essay, utilising musical models to understand the hermeneutical process (Young 1990). Nicholas Lash and Stephen Barton develop similar lines of thought (Lash 1986; Barton 1997, ch. 2, and more fully in a ...
... Performance is an illuminating essay, utilising musical models to understand the hermeneutical process (Young 1990). Nicholas Lash and Stephen Barton develop similar lines of thought (Lash 1986; Barton 1997, ch. 2, and more fully in a ...
Page 10
... performance-kind' (types of performance); a set of correctness and completeness rules (rules of correctness specify what constitutes a correct playing or singing, rules of completeness specify what constitutes a complete playing or ...
... performance-kind' (types of performance); a set of correctness and completeness rules (rules of correctness specify what constitutes a correct playing or singing, rules of completeness specify what constitutes a complete playing or ...
Page 35
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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 |
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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