- Pub. Date:
- Cambridge University Press
Theology, Music and Time shows ways in which music can deepen our understanding of the Christian God and his involvement with the world. Without assuming any specialist knowledge of music, the author explores rhythm, meter, resolution, repetition and improvisation, and through them opens up some of the central themes of the Christian faithcreation, salvation, eschatology, time and eternity, eucharist, election and ecclesiology. He shows that music can refresh theology, giving it new ways of coming to terms with God.
|Publisher:||Cambridge University Press|
|Series:||Cambridge Studies in Christian Doctrine Series , #4|
|Edition description:||New Edition|
|Product dimensions:||5.98(w) x 8.98(h) x 0.91(d)|
Table of Contents
Acknowledgements; Introduction; 1. Practising music; 2. Music's time; Part I. In God's Good Time: 3. In God's good time; 4. Resolution and salvation; 5. Music, time and eternity; 6. Repetition and Eucharist; Part II. Time to Improvise: 7. Boulez, Cage and freedom; 8. Liberating constraint; 9. Giving and giving back; 10. Conclusion; Bibliography; Index of names; Index of subjects.
Most Helpful Customer Reviews
I found this book tremendously interesting, although not what I would call a 'quick read.' I wish that somewhere during my studies towards two degrees in music that I had been asked to study music through a philosophical understanding of time. Now, as a deacon of the Presbyterian Church (USA) and a professional musician and composer, I thoroughly enjoyed the challenge of learning more about theology and the Christian faith through the eyes (ears?!) of music. Unfortunately, to grasp truly the depth of the book, I would have to become proficient in jazz improvisation. I had a little trouble with the section on improvising in advance. Probably because I'm not very familiar with jazz styles, I had difficulty understanding the correlation of what seems to me a minor improvisatory technique with the profound anticipation of the end of time. I was also surprised that the author didn't specifically mention how the horn anticipates the recap to the first movement of Beethoven's Eroica Symphony, such a famous example.