By Martin Clarke
The interrelationship of song and theology is a burgeoning sector of scholarship within which conceptual concerns were explored through musicologists and theologians together with Jeremy Begbie, Quentin Faulkner and Jon Michael Spencer. Their very important paintings has unfolded possibilities for focussed, serious reviews of the ways that song and theology could be obvious to engage in particular repertoires, genres, and associations in addition to the paintings of specific composers, non secular leaders and students. This selection of essays explores such parts in terms of the spiritual, musical and social heritage of nineteenth-century Britain. The publication doesn't easily current a background of sacred song of the interval, yet examines the position of song within the different spiritual lifetime of a century that encompassed the Oxford flow, Catholic Emancipation, non secular revivals regarding many various denominations, the construction of a number of landmark hymnals and larger felony acceptance for religions except Christianity. The booklet for this reason offers a invaluable consultant to the track of this advanced historic interval.
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Extra info for Music and Theology in Nineteenth-Century Britain
His concerns for practical unity in terms of congregational participation clearly imply a stronger sense of theological unity to the messages contained within the hymns. ’26 Hymnody’s role in promoting theological 23 24 25 26 21 22 Ibid. Ibid. pp. v–vi. , p. vi. Ibid. Ibid. Ibid. ‘Meet and Right it is to Sing’ 27 unity of belief seems to lie at the heart of these concerns and is revealed in Bickersteth’s reference to St Augustine’s experience of music in the church: May Augustine’s experience of the benefit of singing be realised by multitudes in our days.
V–vi. , p. vi. Ibid. Ibid. Ibid. ‘Meet and Right it is to Sing’ 27 unity of belief seems to lie at the heart of these concerns and is revealed in Bickersteth’s reference to St Augustine’s experience of music in the church: May Augustine’s experience of the benefit of singing be realised by multitudes in our days. ‘Oh how much have I wept, how exceedingly moved and affected have I been, at the hymns, songs, and harmonious voices of the Church. ’27 Overall, Bickersteth, while clearly informed by his Evangelical theological and liturgical sensibilities, seeks to affirm more fundamental theological values in the proper use of congregational hymnody.
Even lux eoi stops itself from being a shallow piece of triumphalism with its modulation Joseph Harper, ‘Towards An Understanding of Tractarian Hymnody’ (Durham, 2010), p. 236. 34 On Sullivan’s possible involvement in st clement, see Mervyn Horder, ‘A Note on St Clement’, Bulletin of the Hymn Society of Great Britain and Ireland, 200 (1994): 67–8, at p. 67; Ian Bradley, The Daily Telegraph Book of Hymns (London, 2005), pp. 425–6. 33 Music and Theology in Nineteenth-Century Britain 20 in the sixth line.
Music and Theology in Nineteenth-Century Britain by Martin Clarke