By Jeremy Begbie

ISBN-10: 0199292442

ISBN-13: 9780199292448

Whilst the tale of modernity is informed from a theological point of view, tune is normally missed - regardless of its pervasiveness in sleek tradition and the manifold methods it's been intertwined with modernity's ambivalent relation to the Christian God. In dialog with musicologists and song theorists, during this choice of essays Jeremy Begbie goals to teach that the practices of tune and the discourses it has generated undergo their very own form of witness to a couple of the pivotal theological currents and counter-currents shaping modernity. track has been deeply suffering from those currents and in certain cases can have performed a component in producing them. additionally, Begbie argues that song is in a position to yielding powerful methods of addressing and relocating past a number of the extra intractable theological difficulties and dilemmas which modernity has bequeathed to us.

Music, Modernity, and God comprises stories of Calvin, Luther, and Bach, an exposition of the interesting tussle among Rousseau and the composer Rameau, and an account of the heady exaltation of tune to be present in the early German Romantics. specific realization is paid to the advanced relatives among tune and language, and the ways that theology, a self-discipline concerning language at its center, can come to phrases with practices like song, practices that are coherent and significant yet which in lots of respects don't function in language-like methods.

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See Butt, ‘Introduction’, 1–2. 42 Music, Modernity, and God is a contribution to that end. 4 Both come from distinguished musicologists who enter theological territory in a way that invites close and sustained attention. I want to engage them in a constructive (though critical) conversation, not only with respect to our main concerns in this book—Bach and theology in the context of an emerging modernity—but also with an eye to what we can learn more widely about how theologians and musicologists might go about their respective tasks in a late modern context.

VanderWilt is quoting La Forme des prières et chantz ecclesiastiques. 68 John Calvin, The Epistle of Paul the Apostle to the Hebrews and the First and Second Epistles of St Peter, trans. T. H. L. Parker (Edinburgh: Oliver and Boyd, 1963), 27. 28 Music, Modernity, and God music more room for manoeuvre in worship, to exalt God in its own ways, and sometimes without the direct mediation of texts? And might the same be asked of music beyond the walls of the church? And are there not good theological grounds for pressing these questions?

Com>, accessed 4 July 2012. 30 Music, Modernity, and God and harmonic laws of the universe. 77 And by the time of his mature writings there is every sign that this tradition is still playing a key part in his thinking about music, albeit in theologically modified forms. 79 It is no accident that in his Preface to the Symphoniae Iucundae (1538)80—written to introduce a collection of motets by a variety of composers—Luther grounds his discussion of sonorous music first and foremost in a theology of creation, and in a manner consonant with established themes in medieval music theory.

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Music, Modernity, and God: Essays in Listening by Jeremy Begbie

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