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OverviewThis essay collection celebrates the richness of Christian musical tradition across its two thousand year history and across the globe. Opening with a consideration of the fourth-century lamp-lighting hymn Phos hilaron and closing with reflections on contemporary efforts of Ghanaian composers to create Christian worship music in African idioms, the ten contributors engage with a broad ecumenical array of sacred music. Topics encompass Roman Catholic sacred music in medieval and Renaissance Europe, German Lutheran song in the eighteenth century, English hymnody in colonial America, Methodist hymnody adopted by Southern Baptists in the nineteenth century, and Genevan psalmody adapted to respond to the post-war tribulations of the Hungarian Reformed Church. The scope of the volume is further diversified by the inclusion of contemporary Christian topics that address the evangelical methods of a unique Orthodox Christian composer’s language, the shared aims and methods of African-American preaching and gospel music, and the affective didactic power of American evangelical “praise and worship” music. New material on several key composers, including Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach, Zoltan Kodály, and Arvo Pärt, appears within the book. Taken together, these essays embrace a stimulating variety of interdisciplinary analytical and methodological approaches, drawing on cultural, literary critical, theological, ritual, ethnographical, and media studies. The collection contributes to discussions of spirituality in music and, in particular, to the unifying aspects of Christian sacred music across time, space, and faith traditions. This collection celebrates the fifteenth anniversary of the Society for Christian Scholarship in Music. Full Product DetailsAuthor: M. Jennifer Bloxam , Andrew Shenton , M. Jennifer Bloxam , Joshua Kalin BusmanPublisher: Lexington Books Imprint: Lexington Books Dimensions: Width: 15.70cm , Height: 2.20cm , Length: 24.00cm Weight: 0.594kg ISBN: 9781498549905ISBN 10: 149854990 Pages: 258 Publication Date: 12 June 2017 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Manufactured on demand  We will order this item for you from a manufactured on demand supplier. Table of ContentsAcknowledgements Introduction “Contemplating Christian Song in Context” Building Bridges with Christian Song I 1. “Song as a Sign and Means of Christian Unity” Reading Books of Catholic Song c. 1500 2. “The Late Medieval Composer as Cleric: Browsing Chant Manuscripts with Obrecht” 3. “Reading Ottaviano Petrucci’s Early Motet Prints as Devotional Books” Theology and Lutheran Song in the 18th Century 4. “Theology and Musical Conventions in the Arias of J. S. Bach” 5. “Apocalyptic Visions and Moral Education in the Age of Enlightenment: Earthquakes and the Sublime in Oratorios by Carl Philipp Emanuel Bach and Georg Philipp Telemann” Christian Song in 20th-Century Eastern Europe 6. “Kodály’s Genevan Psalm 50: The Composer as Prophet in an Age of Crisis” 7. “Magnificat: Arvo Pärt the Quiet Evangelist” Preaching through Christian Song in Contemporary America 8. “Sounding Belief: ‘Tuning Up’ and ‘the Gospel Imagination’” 9. “ʻSongs are like sermons that people actually remember’: Homo Liturgicus and Hymnody in the 268 Generation” Building Bridges with Christian Song II 10.“Bridging the Old and the New in Contemporary Contexts: The Creative Task of the Christian Scholar” Contributor BiographiesReviewsSince ancient times, Christianity has embraced a paradoxical identity: eternal and temporal, celestial and terrestrial, universal and particular, global and local. This sampling spanning ages and continents represents song as sacrament, both a sign and means of Christian unity without uniformity. Ghanian song reflects glocalization (the opposite of globalization)-and so do Renaissance motet prints in the East-West crossroads of Venice, Enlightenment fascination with earthquakes exemplifying the terrible Sublime, and Zoltan Kodaly's Genevan Psalm 50 (1948), contextualized within Hungarian folk music, Reformed psalmody, Jewish genocide, and Stalinist terror. This collection admirably demonstrates the mission of the Society for Christian Scholarship in Music as it celebrates fifteen years. -- Stephen Schloesser, Loyola University Chicago Since ancient times, Christianity has embraced a paradoxical identity: eternal and temporal, celestial and terrestrial, universal and particular, global and local. This sampling spanning ages and continents represents song as sacrament, both a sign and means of Christian unity without uniformity. Ghanian song reflects glocalization (the opposite of globalization)-and so do Renaissance motet prints in the East-West crossroads of Venice, Enlightenment fascination with earthquakes exemplifying the terrible Sublime, and Zoltan Kodaly's Genevan Psalm 50 (1948), contextualized within Hungarian folk music, Reformed psalmody, Jewish genocide, and Stalinist terror. This collection admirably demonstrates the mission of the Society for Christian Scholarship in Music as it celebrates fifteen years. -- Stephen Schloesser, Loyola University Chicago This engaging collection is testimony to the vitality and breadth of the emerging conversation between theology and music. Wise and insightful essays address music from various genres, historical eras and cultural settings. Taken together they illuminate the ways that musicians and communities have embodied their faith and devotion-in text and tone and rhythm; likewise, they point to the ways in which music has supported and enabled different dimensions of the life of the church. -- Steven R. Guthrie, Belmont University Author InformationM. Jennifer Bloxam is professor of music at Williams College. Andrew Shenton is associate professor of music at Boston University. Tab Content 6Author Website:Countries AvailableAll regions |
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