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 82
Page 4
... speaking about music in ways which do justice to its appeal and which genuinely shed new light upon it. As George Steiner observes: 'In the face of music, the wonders of language are also its frustrations.'3 Another reason is the ...
... speaking about music in ways which do justice to its appeal and which genuinely shed new light upon it. As George Steiner observes: 'In the face of music, the wonders of language are also its frustrations.'3 Another reason is the ...
Page 5
... speak of music we speak chiefly of something made and heard–sung, played, performed, listened to – and it is to the complexities of this making and hearing that we seek to be true in what follows. (It is no accident that the major ...
... speak of music we speak chiefly of something made and heard–sung, played, performed, listened to – and it is to the complexities of this making and hearing that we seek to be true in what follows. (It is no accident that the major ...
Page 9
... speak of music we speak of a practice or, better, a multiplicity of practices. We can keep the principal practices in mind as we proceed, even if their edges are unclear and they often overlap. At the most basic level, there are two ...
... speak of music we speak of a practice or, better, a multiplicity of practices. We can keep the principal practices in mind as we proceed, even if their edges are unclear and they often overlap. At the most basic level, there are two ...
Page 11
... speak of extrinsic theories of musical meaning which pivot on what is believed to be music's capacity to relate in some manner to some extra-musical/non-musical object or objects or states of affairs (e.g. emotions, ideas, physical ...
... speak of extrinsic theories of musical meaning which pivot on what is believed to be music's capacity to relate in some manner to some extra-musical/non-musical object or objects or states of affairs (e.g. emotions, ideas, physical ...
Page 20
... speak across boundaries of class and race. There are undoubtedly strong links between musicandlanguage.25 They are certainly not exclusive zones. Music is enjoyed in a world mediated through language. It cannot escape the effects of ...
... speak across boundaries of class and race. There are undoubtedly strong links between musicandlanguage.25 They are certainly not exclusive zones. Music is enjoyed in a world mediated through language. It cannot escape the effects of ...
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