Resonant Witness: Conversations between Music and Theology (Calvin Inst Christian Worship Liturgical Studies) - Softcover

Begbie, Jeremy; Guthrie, Steven R.

Softcover

ISBN 10: 0802862772 ISBN 13: 9780802862778

Verlag: Wm. B. Eerdmans Publishing Co., 2011

Inhaltsangabe

Series: Calvin Institute of Christian Worship Liturgical Studies (CICW) Resonant Witness gathers together a wide, harmonious chorus of voices from across the musical and theological spectrum to show that music and theology can each learn much from the other -- and that the majesty and power of both are profoundly amplified when they do. With essays touching on J. S. Bach, Hildegard of Bingen, Martin Luther, Karl Barth, Olivier Messiaen, jazz improvisation, South African freedom songs, and more, this volume encourages musicians and theologians to pursue a more fruitful and sustained engagement with one another. Contributors: Jeremy S. Begbie Bruce Ellis Benson Alastair Borthwick Daniel K. L. Chua Nancy van Deusen Margot Fassler Steven R. Guthrie Carol Harrison Trevor Hart C. Michael Hawn Joyce Irwin John Paul Ito Anthony Monti David J. R. S. Moseley Michael O'Connor Catherine Pickstock Richard J. Plantinga Robert Sholl Nancy van Deusen John D. Witvliet

Über diesen Titel

Über die Autorinnen und Autoren

Jeremy S. Begbie is Thomas A. Langford Research Professor of Theology at Duke Divinity School and senior member at Wolfson College, Cambridge. His other books include Resounding Truth: Christian Wisdom in the World of Music.

Steven R. Guthrie is associate professor of theology and director of the Religion and the Arts program at Belmont University. He is also author of the forthcoming book Creator Spirit: The Holy Spirit and the Art of Becoming Human.

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Resonant Witness

Conversations between Music and Theology

William B. Eerdmans Publishing Company

Copyright © 2011 Wm. B. Eerdmans Publishing Co.
All right reserved.
ISBN: 978-0-8028-6277-8

Contents

ACKNOWLEDGMENTS.........................................................................................................................................................viiiIntroduction Jeremy S. Begbie and Steven R. Guthrie....................................................................................................................11. Augustine and the Art of Music Carol Harrison.......................................................................................................................272. Material: Philip the Chancellor and the Reception of Aristotle's Physics Nancy van Deusen...........................................................................463. "So Faith Comes from What Is Heard": The Relationship between Music and God's Word in the First Two Centuries of German Lutheranism Joyce Irwin.....................654. Created Beauty: The Witness of J. S. Bach Jeremy S. Begbie..........................................................................................................835. On Music, Mathematics, and Theology: Pythagoras, the Mind, and Human Agency John Paul Ito...........................................................................1096. Music as the Mouthpiece of Theology Daniel K. L. Chua...............................................................................................................1377. The Shock of the Positive: Olivier Messiaen, St. Francis, and Redemption through Modernity Robert Sholl.............................................................1628. Quasi Una Sonata: Modernism, Postmodernism, Religion, and Music Catherine Pickstock.................................................................................1909. The Integration of Music and Theology in the Vocal Compositions of J. S. Bach Richard J. Plantinga..................................................................21510. "Parables" and "Polyphony": The Resonance of Music as Witness in the Theology of Karl Barth and Dietrich Bonhoeffer David J. R. S. Moseley.........................24011. Musical Time and Eschatology Alastair Borthwick, Trevor Hart, and Anthony Monti....................................................................................27112. Improvising Texts, Improvising Communities: Jazz, Interpretation, Heterophony, and the Ekklesia Bruce Ellis Benson.........................................29513. Faithful Feelings: Music and Emotion in Worship Jeremy S. Begbie...................................................................................................32314. Music for the Love Feast: Hildegard of Bingen and the Song of Songs Margot Fassler.................................................................................35515. The Wisdom of Song Steven R. Guthrie...............................................................................................................................38216. The Truth Shall Set You Free: Song, Struggle, and Solidarity in South Africa C. Michael Hawn.......................................................................40817. The Singing of Jesus Michael O'Connor..............................................................................................................................434Afterword John D. Witvliet.............................................................................................................................................454CONTRIBUTORS............................................................................................................................................................464GLOSSARY OF MUSICAL TERMS...............................................................................................................................................471INDEX...................................................................................................................................................................481

Chapter One

Augustine and the Art of Music

Carol Harrison

The Liberal Art of Music

In classical and late antique culture, music was generally understood not in terms of something composed, practiced, played, or performed, but as a mathematical discipline that was concerned with identifying, categorizing, and creating measured relations between sounds — usually the written or spoken sound of words in poetic rhythm, meter, and verse. Alongside the other mathematical-type disciplines of arithmetic, geometry, and astronomy, and the literary disciplines of grammar, rhetoric, and dialectic, music formed part of the "core curriculum" of the seven liberal arts: those disciplines which effectively formed a common culture shared by the governing elite of educated, free citizens among whom they were studied.

Of course, music as we would now commonly understand it did exist and was practiced, though we know very little about its precise form. Wind instruments such as pipes and horns; stringed instruments such as the lyre; percussion instruments such as the cymbals and drum — all of these were played, most often in a context associated with pagan cult, the theater, dinner parties, or brothels. In churches, vocal music, or more precisely, a type of simple, one-line chant, was increasingly used to recite the Psalms, although there is no evidence of instrumental music being used in a Christian context: it was most likely simply too tainted by its pagan associations. Instrumental or vocal music was, however, quite separate and distinct from the liberal discipline of music: the former was merely a craft or technical skill, working by imitation, in bodily, temporal, mutable media; the latter, on the other hand, was a rational discipline that studied the laws of spiritual, eternal, immutable measure and relation. The former was therefore merely an inferior distraction from the latter — and a potentially dangerous and misleading one at that — hardly worthy of being called "music." Only the latter could form and educate the mind in order to grasp the truth, if one was of a philosophical inclination — or, if one was more worldly minded, could form part of the educational formation that provided a passport to a career as a governor or military commander. Music, then, in its most acceptable, most widely acknowledged, highest, and purest form, was an intellectual discipline to be studied and acquired, much like geometry; it gave one a means of comprehending the eternal relations that govern reality and, more practically, a passport to higher culture and the society and occupations that went with it. No provincial governor, no lawyer, no general would be ignorant of "music," though none would think that accomplished playing of an instrument was something to boast about or really had anything to do with "music" in the proper sense.

Any attempt to consider what Augustine (354-430), or any other Christian author of antiquity, thought of music is therefore to pose a rather different question than one might think one was asking, and to invite somewhat unexpected answers. All Christian authors were, by definition, educated men (unfortunately there aren't any women authors from this period) — they were able to write, to preach, to catechize, to address letters and petitions, and (after Constantine) to act as legal arbitrators. In other words, they had benefited from a classical education: their intellectual, cultural formation was irrevocably that of the liberal arts; they...

Details zur Ausgabe

• Verlag: Wm. B. Eerdmans Publishing Co.
• Erscheinungsdatum: 2011
• Sprache: Englisch
• ISBN 10: 0802862772
• ISBN 13: 9780802862778
• Einband: Taschenbuch
• Anzahl der Seiten: 505
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: gpsr@libri.de; gpsr@libri.de; ; Europaallee 1; Bad Hersfeld; 36244; Deutschland