Theology, Music and Time / Edition 1 available in Paperback
- Pub. Date:
- Cambridge University Press
Table of ContentsAcknowledgements; 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.
What People are Saying About This
"...his aim is ambitious...his book succeeds very well...Begbie's argument is complex and detailed, and for those who read music he provides closer musical analysis in sans serif typeface. Yet he writes clearly and concisely, making the argument accessible to the non-musician...In his best book to date, Begie gives a powerful and convincing account of music's contributions to theology." Modern Theology
"His [Begbie's] presentation is refrshing, presupposing no special musical expertise, applying no contrived arguments or cumbersome proofs, and mercifully free from jargon of methodologies, papradigms, or models. Begbie converses on music to invite theological conversation. His book is well served by good indices and an excellent bibliography, of which substansive notes (at the foot, where notes belong) testify to the author's mastery." Journal of Religion
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.