This book addresses a highly complex and elusive matter: why the Christian Church was able to contribute so generously to music from its earliest days through the 18th century and why it has suffered since that time from a creeping artistic paralysis. Modern attitudes and assumptions often find the values and accomplishments of the Christian worldview enigmatic, even repellant, and church music has come to be one of the primary areas in which the tension between conflicting worldviews continues to be worked out on a daily basis. This thoughtful work investigates the historical interaction of theology, philosophy and music, and will be of interest to church musicians, theologians, music historians and cultural anthropologists. In its concluding chapter this work explores a number of basic questions: In what sense, if any, can the arts (and then the fine arts) be considered profoundly significant for modern society? Is there a meaningful role for artists of genius and total commitment? Do the arts (and then the fine arts) have any profound significance for the Church in the modern world? Of what significance, if any, to the Church in the modern world are the great Christian artistic accomplishments of the past? This exploration is by means of excerpts from historical sources, quotations from modern authors, and commentary on both. It calls upon historical, philosophical, theological, liturgical, anthropological, and musical sources and concepts in an attempt to develop a comprehensive understanding of musical developments that have served the Christian church for centuries and that have also provided a rich heritage of art music.

Steeped in the Catholic spiritual tradition, The Sacramentality of Music argues that musical experience, in its appeal to the entirety of the human person, can serve as a locus of encounter with the divine and an occasion of God’s self-revelation in love, with spiritually nurturing, ultimately transformative, ends. Christina Labriolacontends that this dynamic might most aptly be understood as sacramental, an all-encompassing perspective of the cosmos permeated by the divine creative, salvific, sustaining presence. Through its participation in the mysteries of beauty and creativity, its bodily and affective engagement, and impact on the inner life, music operates sacramentally: manifesting divine realities through the tangible stuff of human experience. In a thematic theological exploration that interweaves pastoral theology, theological aesthetics, and mysticism, the reader is invited to contemplate music’s sacramental potentiality and to engage the sacramentally charged music of Beethoven, Bartok, MacMillan, Messiaen, Mozart, Ešenvalds, Bach, Pärt, and Hildegard. In attending to musical ways of relating to God, this book invites readers into a deepening awareness of the sacramental nature of reality itself as that in which the spiritual resonance of music is grounded and reveals afresh, taking musical beauty seriously in the spiritual order with repercussions for Christian living.

Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

Following an encounter with an African bishop - who believed all who lived in his diocese (and not only congregations and clergy) should be loved and cared for - Robert Cotton became convinced that Christian disciples in this country need to be assured that they have something vital to communicate to the well-being of their local communities. We are all, to some extent, 'vicars' - vicarious disciples who cannot help but influence those around us. Indeed, it may be beneficial to think of ourselves as public actors for the faith, housed in a theatre of meaning, the Church, and putting on a divine play for which there is an eager audience. The audience may consist of people of other faiths or none: the author encourages us to have confidence in a theology that does not limit salvation to those inside the Church; he believes that we can come close to the presence of God in active engagement with people of goodwill. And, of course, as Christians it behoves us to respond to others' agendas and concerns with generosity and grace. This gentle, beautifully written volume packs quite a punch. Taken seriously, it will revitalize our personal and corporate vision of Christian living as, inspired by the Holy Spirit, we seek to bring light and joy to the cities, towns and villages in which we live.

This book is a study of music inculturation in Indonesia. It shows how religious expression can be made relevant in an indigenous context and how grassroots Christianity is being realized by means of music. Through the discussion of indigenous expressions of Christianity, the book presents multiple ways in which Indonesians reiterate their identity through music by creatively forging Christian and indigenous elements. This study moves beyond the discussion (and charge) of syncretism, showing that the inclusion of local cultural manifestations is an answer to creating a truly indigenous Christian expression. Marzanna Poplawska, while telling the story of Indonesian Christians and the multiple ways in which they live Christianity through music, emphasizes the creative energy and agency of local people. In their practices she finds optimism for the continuing existence of many traditional genres and styles. Indonesian Christians perform their Christian faith through music, dance, and theater, generating innovative cultural products that enrich the global Christian heritage. The book is addressed to a broad spectrum of readers: scholars from a variety of disciplines – music, religion, anthropology, especially those interested in interactions between Christianity and indigenous cultures; general music lovers and World Music enthusiasts eager to discover musics outside of European realm; as well as Christian believers, church musicians, and choir directors curious to learn about Christian music beyond Euro-American context. Students of religion, sacred music, (ethno)musicology, theater, and dance will also benefit from learning about a variety of indigenous arts employed in Christian churches in Indonesia.

A world-renowned scholar and musician helps Christians respond with theological discernment to music.

Dietrich Bonhoeffer writes in one of his last prison letters that he had "come to know and understand more and more the profound this-worldliness of Christianity." In Taking Hold of the Real, Barry Harvey engages in constructive conversation with Bonhoeffer, contending that the "shallow and banal this-worldliness" of modern society is ordered to a significant degree around the social technologies of religion, culture, and race. These mechanisms displace human beings from their traditional connections with particular locales, and relocate them in their "proper places" as determined by the nation-state and capitalist markets. Christians are called to participate in the profound this-worldliness that breaks into the world in the apocalyptic action of Jesus Christ, a form of life that requires discipline and an understanding of death and resurrection. The church is a sacrament of this new humanity, performing for all to hear the polyphony of life that was prefigured in the Old Testament and now is realized in Christ. Unable to find a faithful form of this-worldliness in wartime Germany, Bonhoeffer joined the conspiracy against Hitler, a decision aptly contrasted with a small French church that, prepared by its life together over many generations, saved thousands of Jewish lives.

Christians frequently come into conflict with themselves and others over such matters as music, popular culture, and worship style. Yet they usually lack any theology of art or taste adequate to deal with aesthetic disputes. In this provocative book, Frank Burch Brown offers a constructive, "ecumenical" approach to artistic taste and aesthetic judgment--a non-elitist but discriminating theological aesthetics that has "teeth but no fangs." While grounded in history and theory, this book takes up such practical questions as: How can one religious community accommodate a variety of artistic tastes? What good or harm can be done by importing music that is worldly in origin into a house of worship? How can the exercise of taste in the making of art be a viable (and sometimes advanced) spiritual discipline? In exploring the complex relation between taste, religious imagination, and faith, Brown offers a new perspective on what it means to be spiritual, religious, and indeed Christian.

"[Wren's] work is fresh, daring, and suggestive, and at the same time informed, critical, and disciplined. . . . Wren has combined an exceedingly thoughtful theoretical presentation of the linguistic problem and a step-by-step practical walk-through of the issues. . . . It takes a poet, not a clerk, to voice what has been disclosed by God. Wren is such a poet; he invites us to fresh evangelical cadences that will themselves liberate."Theology Today"[Wren] makes an inventive effort to help cure the disease that is devastating the worship scene. He himself writes extraordinary hymn texts that are 'beyond patriarchy,' and he hangs them in 'galleries' in his book. . . . He gives us a readable, convincing book centered on the language question but profoundly theological in its implications."National Catholic Reporter"A book of tremendous value to liturgists, theologians, members of the newly forming men's liberation movement, clergy and policymakers, and anyone interested in the issue of inclusive God-language, including those who are curious about why it matters in the first place. . . . Part of the value of What Language Shall I Borrow? is Wren's graceful, imaginative presentation of his facts. Although there is ample cognitive input, it is interspersed with moving hymn texts, practical workshop ideas and fascinating narratives."The Presbyterian Outlook