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
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Page 9
... thing we should stress from the start it is just that, that when we 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 ...
... thing we should stress from the start it is just that, that when we 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 ...
Page 13
... things, this means recognising the enormous variety of. 14. See e.g. Cook (1998b), Higgins (1991), Norris (1989) ... things as absolute values (all values are socially constructed), and second that there can be no such thing as unmediated ...
... things, this means recognising the enormous variety of. 14. See e.g. Cook (1998b), Higgins (1991), Norris (1989) ... things as absolute values (all values are socially constructed), and second that there can be no such thing as unmediated ...
Page 14
Jeremy S. Begbie. Among other things, this means recognising the enormous variety of social roles music can play–establishing cohesion between people, arousing emotion, expressing grief, praising a deity, putting to sleep, and so on ...
Jeremy S. Begbie. Among other things, this means recognising the enormous variety of social roles music can play–establishing cohesion between people, arousing emotion, expressing grief, praising a deity, putting to sleep, and so on ...
Page 21
... thing and a name, but a concept and a sound-image' (ibid., 66). 27. Barthes (1977), 308. Music 'takes us to the limits of the system of signs', claims Julia Kristeva. It is 'a system of differences that is not a system that means ...
... thing and a name, but a concept and a sound-image' (ibid., 66). 27. Barthes (1977), 308. Music 'takes us to the limits of the system of signs', claims Julia Kristeva. It is 'a system of differences that is not a system that means ...
Page 22
... things, they argue that insufficient attention is being paid to music's central feature – its sounds. The inherent characteristics of the sounds used in language are not necessarily implicated in the meanings they generate. But it is ...
... things, they argue that insufficient attention is being paid to music's central feature – its sounds. The inherent characteristics of the sounds used in language are not necessarily implicated in the meanings they generate. But it is ...
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