Many people find sacred choral music profound and deeply evocative, even in societies that seem to be turning away from religious belief. In this book, Julian Perlmutter examines how, in light of its wide appeal, sacred music can have religious significance for people regardless of their religious convictions. By differentiating between doctrinal belief and the desire for God, Perlmutter explores a longing for the spiritual that is compatible with both belief and 'interested non-belief'. He describes how sacred music can elicit this kind of longing, thereby helping the listener to grow in religious openness. The work of Thomas Merton is also analyzed in order to show that musically-elicited desire for God can be incorporated into the Christian practice of contemplative prayer, aimed ultimately at a union of love with God. By exploring connections between desire, knowledge and religious practice, this engaging account illustrates how sacred music can have a transformative effect on one's wider spiritual life. Of particular interest to philosophers and theologians, the book makes a novel contribution to several topics including religious epistemology, the philosophy of emotion and aesthetics.

Many people find sacred choral music profound and deeply evocative, even in societies that seem to be turning away from religious belief. In this book, Julian Perlmutter examines how, in light of its wide appeal, sacred music can have religious significance for people regardless of their religious convictions. By differentiating between doctrinal belief and the desire for God, Perlmutter explores a longing for the spiritual that is compatible with both belief and 'interested non-belief'. He describes how sacred music can elicit this kind of longing, thereby helping the listener to grow in religious openness. The work of Thomas Merton is also analyzed in order to show that musically-elicited desire for God can be incorporated into the Christian practice of contemplative prayer, aimed ultimately at a union of love with God. By exploring connections between desire, knowledge and religious practice, this engaging account illustrates how sacred music can have a transformative effect on one's wider spiritual life. Of particular interest to philosophers and theologians, the book makes a novel contribution to several topics including religious epistemology, the philosophy of emotion and aesthetics.

It is widely claimed that notions of gods and religious beliefs are irrelevant or inconsequential to early Chinese (“Confucian”) moral and political thought. Rejecting the claim that religious practice plays a minimal philosophical role, Kelly James Clark and Justin Winslett offer a textual study that maps the religious terrain of early Chinese texts. They analyze the pantheon of extrahumans, from high gods to ancestor spirits, discussing their various representations, as well as examining conceptions of the afterlife and religious ritual. Demonstrating that religious beliefs in early China are both textually endorsed and ritually embodied, this book goes on to show how gods, ancestors and afterlife are philosophically salient. The summative chapter on the role of religious ritual in moral formation shows how religion forms a complex philosophical system capable of informing moral, social, and political conditions.

This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.

The idea that God, understood as the most perfect being, must create the best possible world is often underacknowledged by contemporary theologians and philosophers of religion. This book clearly demonstrates the rationale for what Justin J. Daeley calls Theistic Optimism and interacts with the existing literature in order to highlight its limitations. While locating Theistic Optimism in the thought of Gottfried Leibniz, Daeley argues that Theistic Optimism is consistent with divine freedom, aseity, gratitude, and our typical modal intuitions. By offering plausible solutions to each of the criticisms levelled against Theistic Optimism, he also provides a vigorous and original defence against the charge that it deviates from the Christian tradition. Engaging with both the Christian tradition and contemporary theologians and philosophers, Why God Must Do What is Best positions the idea of Theistic Optimism firmly within the language of contemporary philosophy of religion.

Contemporary discussions in metaphysics, epistemology and philosophy of mind are dominated by the presupposition of naturalism. Arguing against this established convention, Jim Slagle offers a thorough defence of Alvin Plantinga's Evolutionary Argument against Naturalism (EAAN) and in doing so, reveals how it shows that evolution and naturalism are incompatible. Charting the development of Plantinga's argument, Slagle asserts that the probability of our cognitive faculties reliably producing true beliefs is low if ontological naturalism is true, and therefore all other beliefs produced by these faculties, including naturalism itself, are self-defeating. He critiques other well-known epistemological approaches, including those of Descartes and Quine, and deftly counters the many objections against the EAAN to conclude that metaphysical naturalism should be rejected on the grounds of self-defeat. By situating Plantinga's argument within a wider context and showing that science and evolution cannot entail naturalism, Slagle renders this most common metaphysical view irrational. As such, the book advocates an important reconsideration of contemporary thought at the intersection of philosophy, science and religion.

In the series of essays collected in this book, Eleonore Stump offers reflections that illustrate the nature and importance of learning from the Christian heritage in its development over the ages of the Christian tradition and its continued development in interaction with contemporary philosophy, theology, and science. The essays show the power of this heritage in philosophical theology and in philosophical biblical exegesis. Central to the concerns they address is the Christian conviction that at the foundation of all reality is a God, who is love in a welcoming personal relationship offered to all human beings. The essays explore the nature of God and some puzzles about God’s interactions with human beings; they also examine the nature of human knowledge of God and argue that it can be achieved not only through propositional truths but also through knowledge of persons, and even through apprehension of beauty in nature or the arts. The book closes with an examination of what it is to will in accordance with the will of God for those who long for him.

Taking seriously the practice and not just the theory of music, this ground-breaking collection of essays establishes a new standard for the interdisciplinary conversation between theology, musicology, and liturgical studies. The public making of music in our society happens more often in the context of chapels, churches, and cathedrals than anywhere else. The command to sing and make music to God makes music an essential part of the DNA of Christian worship. The book’s three main parts address questions about the history, the performative contexts, and the nature of music. Its opening four chapters traces how accounts of music and its relation to God, the cosmos, and the human person have changed dramatically through Western history, from the patristic period through medieval, Reformation and modern times. A second section examines the role of music in worship, and asks what—if anything—makes a piece of music suitable for religious use. The final part of the book shows how the serious discussion of music opens onto considerations of time, tradition, ontology, anthropology, providence, and the nature of God. A pioneering set of explorations by a distinguished group of international scholars, this book will be of interest to anyone interested in Christianity’s long relationship with music, including those working in the fields of theology, musicology, and liturgical studies.

What kind of natural desire is this? How can there be a natural desire for what can only be supernaturally obtained? How can such a desire be reconciled with the gratuitousness of grace and glory? What are its implications for apologetics? These and similar questions have caused a debate to rage for centuries over the proper interpretation of the natural desire to see God. This work seeks to determine the nature of this desire and its relationship with the supernatural order through an examination of the thought of St. Thomas and some of his most prominent interpreters, including Scotus, Cajetan, Suárez, and Henri de Lubac.

God started music, and music ends at him. This study of music provides fundamental references to help build you and your comprehension of what you are doing when you activate music. This builds your intention/purpose of music to the truth and spirit. This builds your knowledge of what music in reality is. This builds an increase to your knowledge and personality. This surely builds you as a person and will add to your conscious experience of God and music.