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Author: Mark J. Boone
Publisher: Wipf and Stock Publishers
ISBN: 1725268884
Category : Religion
Languages : en
Pages : 353
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Book Description
Dr. David K. Naugle is widely regarded as a leading thinker in the area of Christian worldview formation. As Distinguished University Professor Emeritus at Dallas Baptist University, he has drawn accolades and admiration. This collection in his honor demonstrates that intellectual pursuits are inherently spiritual, that no area of life is separate from the lordship of Christ, and that true Christian faith is in fact the deep fulfillment of the human experience. On topics ranging from linguistics to gardening and everything in between, these essays represent the depth and breadth of the idea that all goodness is God’s goodness, all truth is God’s truth, and all beauty is God’s beauty.
Author: Mark J. Boone
Publisher: Wipf and Stock Publishers
ISBN: 1725268884
Category : Religion
Languages : en
Pages : 353
Get Book Here
Book Description
Dr. David K. Naugle is widely regarded as a leading thinker in the area of Christian worldview formation. As Distinguished University Professor Emeritus at Dallas Baptist University, he has drawn accolades and admiration. This collection in his honor demonstrates that intellectual pursuits are inherently spiritual, that no area of life is separate from the lordship of Christ, and that true Christian faith is in fact the deep fulfillment of the human experience. On topics ranging from linguistics to gardening and everything in between, these essays represent the depth and breadth of the idea that all goodness is God’s goodness, all truth is God’s truth, and all beauty is God’s beauty.
Author: Feka Wakai
Publisher: African Books Collective
ISBN: 9956715069
Category : Poetry
Languages : en
Pages : 83
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Book Description
Fragmented Melodies
Author: Craig Gardiner
Publisher: Wipf and Stock Publishers
ISBN: 162032993X
Category : Religion
Languages : en
Pages : 353
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Book Description
The New Monastic Movement is a vibrant source of renewal for the church’s life and mission. Many involved in this movement have quoted Dietrich Bonhoeffer’s conviction that the church must recover ancient spiritual disciplines if it is to effectively engage “the powers that be.” Melodies of a New Monasticism adopts a musical metaphor of polyphony (the combination of two or more lines of music) to articulate the way that these early Christian virtues can be woven together in community. Creatively using this imagery, this book draws on the theological vision of Bonhoeffer and the contemporary witness of George MacLeod and the Iona Community to explore the interplay between discipleship, doctrine, and ethics. A recurring theme is the idea of Christ as the cantus firmus (the fixed song) around which people perform the diverse harmonies of God in church and world, including worship, ecumenism, healing, peace, justice, and ecology.
Author: Victor Svorinich
Publisher: Univ. Press of Mississippi
ISBN: 1626743576
Category : Music
Languages : en
Pages : 301
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Book Description
Listen to This stands out as the first book exclusively dedicated to Davis's watershed 1969 album, Bitches Brew. Victor Svorinich traces its incarnations and inspirations for ten-plus years before its release. The album arrived as the jazz scene waned beneath the rise of rock-and-roll and as Davis (1926–1991) faced large changes in social conditions affecting the African American consciousness. This new climate served as a catalyst for an experiment that many considered a major departure. Davis's new music projected rock-and-roll sensibilities, the experimental essence of 1960s' counterculture, yet also harsh dissonances of African American reality. Many listeners embraced it, while others misunderstood and rejected the concoction. Listen to This is not just the story of Bitches Brew. It reveals much of the legend of Miles Davis—his attitude and will, his grace under pressure, his bands, his relationship to the masses, his business and personal etiquette, and his response to extraordinary social conditions seemingly aligned to bring him down. Svorinich revisits the mystery and skepticism surrounding the album and places it into both a historical and musical context using new interviews, original analysis, recently found recordings, unearthed session data sheets, memoranda, letters, musical transcriptions, scores, and a wealth of other material. Additionally, Listen to This encompasses a thorough examination of producer Teo Macero's archives and Bitches Brew's original session reels in order to provide the only complete day-to-day account of the sessions.
Author:
Publisher: BRILL
ISBN: 9004467122
Category : Literary Criticism
Languages : en
Pages : 304
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Book Description
Incompletion is an essential condition of cultural history, and particularly the idea of the fragment became a central element of Romantic art which continued being of high relevance to the various strands of modernist and contemporary aesthetics.
Author: Vanessa Hawes
Publisher: Cambridge Scholars Publishing
ISBN: 1443898392
Category : Music
Languages : en
Pages : 265
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Book Description
Music and/as Process brings together ideas about music and the notion of process from different sub-fields within musicology and from related fields in the creative arts as a whole. These can be loosely categorised into three broad areas – composition, performance and analysis – but work in all three of these groups in the volume overlaps into the others, covers a broad range of other musicological sub-fields, and draws inspiration from, non-musicological fields. Music and/as Process comprises chapters written by a mix of scholars; some are leaders in their field and some are newer researchers, but all share an innovative and forward-thinking attitude to music research, often not well represented within ‘traditional’ musicology. Much of the work represented here started as papers or discussions at one of the Royal Musical Association (RMA) Music and/as Process Study Group Annual Conferences. The first section of the book deals with the analysis of performance and the performance of analysis. The historical nature of music and the recognition of pieces as musical ‘works’ in the traditional sense is questioned by the authors, and is a factor in the analyses which address processes in composing, performing, and listening, and the links between these, in three very different but interlinking ways. These three approaches posit new directions and territory for musical analysis. The second section builds on the first, framing performance and/as process from the individual perspectives of the authors and their experiences as practitioners. Music by Berio, de Falla, music by the authors and their collaborators, and music composed for the authors are explored through looking at processes of interpretation and risk; processes which further undermine the ontology of the musical ‘work’ as traditionally understood, and bring the practitioner as active agent to the foreground of an examination of musical discourse. The third section encounters and questions the musical ‘work’ at its inception, exploring composition and/as process through its encounters with performance, analysis, collaboration, improvisation, translation, experimentation and cross-disciplinarity. Through explorations of new music, the way in which practitioners relate to music frame a personal and reflective account of the creative process, finally looking beyond music to musicology.
Author: Peter Dayan
Publisher: Routledge
ISBN: 1351557114
Category : Music
Languages : en
Pages : 154
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Book Description
Why does poetry appeal to music? Can music be said to communicate, as language does? What, between music and poetry, is it possible to translate? These fundamental questions have remained obstinately difficult, despite the recent burgeoning of word and music studies. Peter Dayan contends that the reasons for this difficulty were worked out with extraordinary rigour and consistency in a French literary tradition, echoed by composers such as Berlioz and Debussy, which stretches from Sand to Derrida. Their writing shows how it is both necessary and futile to look for music in poetry, or for poetry in music: necessary, because each art defines itself by reference to what it is not, and cannot be, in order to point to an idealized totality outside itself; futile, because the musicality of poetry, like the poetic meaning of music, must remain as elusive as that idealized totality; its distance is the very condition of the art. Thus is generated a subtle but unmistakable general definition of the nature of art which has proved uniquely able to survive all the probings of poststructuralism. That definition of art is inseparable from a disturbingly effective scepticism towards all forms of explication and explanation in critical discourse, so it is doubtless not surprising that critics in general have done their best to ignore it. But by bringing out what Sand, Baudelaire, Mallarmé, Proust, Debussy, Berlioz, Barthes, and Derrida all do in the same way as they work on the limits of the analogy between music and literature, this book shows how it is possible, productive, illuminating, and fascinating to work on those limits; though to do so, as we find repeatedly, in Chopin's dreams as in Derrida's 'tombeaux', requires us to have the courage to face, in music, our literal death, and the limits of our intelligence.
Author: RobertP. Morgan
Publisher: Routledge
ISBN: 1351557130
Category : History
Languages : en
Pages : 345
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Book Description
Robert P. Morgan is one of a small number of music theorists writing in English who treat music theory, and in particular Schenkerian theory, as part of general intellectual life. Morgan‘s writings are renowned within the field of music scholarship: he is the author of the well-known Norton volume Twentieth-Century Music, and of additional books relating to Schenkerian and other theory, analysis and society. This volume of Morgan‘s previously published essays encompasses a broad range of issues, including historical and social issues and is of importance to anyone concerned with modern Western music. His specially written introduction treats his writings as a whole but also provides additional material relating to the articles included in this volume.
Author: Jason Stoessel
Publisher: Routledge
ISBN: 1351563378
Category : Music
Languages : en
Pages : 239
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Book Description
This collection presents numerous discoveries and fresh insights into music and musical practices that shaped distinctly localized individual and collective identities in pre-modern and early modern Europe. Contributions by leading and emerging European music experts fall into three areas: plainchant traditions in Aquitania and the Iberian peninsula during the first 700 years of the second millennium; late medieval musical aesthetics, traditions and practices in Paris, Padua, Prague and more generally England, Germany and Spain; and local traditions in Renaissance Augsburg and Baroque Naples and Dresden. In addition to in-depth readings of anonymous musical traditions, contributors provide new details concerning the lives and music of well-known composers such as Ad?r de Chabannes, Bartolino da Padova, Ciconia, Josquin, Senfl, Alessandro Scarlatti, Heinichen and Zelenka. This book will appeal to a broad range of readers, including chant scholars, medievalists, music historians, and anyone interested in music's place in pre-modern and early modern European culture.
Author: Michael Baumgartner
Publisher: Oxford University Press
ISBN: 0190497157
Category : Motion picture music
Languages : en
Pages : 521
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Book Description
"This monograph explores the under-researched use of music in Jean-Luc Godard's films and video essays from the early 1960s to the late 1990s. While Godard is largely hailed as a leading innovator of visual montage, unique storytelling style, and ground-breaking cinematography, his achievements as a leading pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image have been mainly overlooked. On these soundtracks, music assumes the unique role of metafilm music. Metafilm music self-consciously refers to its own role as film music and disrupts the primary function of film music as an essential filmic device creating cinematic illusion. The concept of metafilm music describes how Godard thinks with film music about film music. Metafilm music manifests itself in Godard's work in four distinct manners: as fragmentized musical cues; as the same fragment verbatim repeated several times; as extrapolated, short excerpts from classical or popular music; and as music mixed unusually loudly into the soundtrack. With a detailed analysis of these parameters, the book explores fragmented and repeated music as Godard's critique of the leitmotif technique. Godard further self-reflexively investigates genre-specific music in musical comedies, films noir, and melodramas, as well as prototypical film music as arguably its own musical genre. His last foray into metafilm music entails music-making as a metaphor for filmmaking. By thinking with music about the function of film music, Godard has created throughout his career multi-layered soundtracks which challenge the conventional norms of film music and sound"--
