This book re-examines how Bonhoeffer employs musical patterns of thought and language to a theological end. It outlines how the significance of Bonhoeffer's musico-theology has not been sufficiently recognised, and sets the stage for a rigorous re-examination. It becomes clear that through the lens of his musical metaphor of polyphony, Bonhoeffer demonstrates how his account of Christian formation contains a latent pneumatology. Tarassenko demonstrates that incorporation of this pneumatology is key in deepening one's understanding of Bonhoeffer. It allows the relationship between Christology and Christian formation in Bonhoeffer's thought to become fully realised. The appeal to polyphony articulates this pneumatology, as an indirect but nevertheless exceedingly successful means of contouring an account of the Spirit's work.

A preeminent composer, music scholar, and biographer presents an engaging and accessible introduction to classical music For many of us, classical music is something serious -- something we study in school, something played by cultivated musicians at fancy gatherings. In Language of the Spirit, renowned music scholar Jan Swafford argues that we have it all wrong: classical music has something for everyone and is accessible to all. Ranging from Gregorian chant to Handel's Messiah, from Vivaldi's The Four Seasons to the postmodern work of Philip Glass, Swafford is an affable and expert guide to the genre. He traces the history of Western music, introduces readers to the most important composers and compositions, and explains the underlying structure and logic of their music. Language of the Spirit is essential reading for anyone who has ever wished to know more about this sublime art.

An exploration of polyphony and the perspective it offers on our own polyphonic brains. Polyphony—the interweaving of simultaneous sounds—is a crucial aspect of music that has deep implications for how we understand the mind. In Polyphonic Minds, Peter Pesic examines the history and significance of “polyphonicity”—of “many-voicedness”—in human experience. Pesic presents the emergence of Western polyphony, its flowering, its horizons, and the perspective it offers on our own polyphonic brains. When we listen to polyphonic music, how is it that we can hear several different things at once? How does a single mind experience those things as a unity (a motet, a fugue) rather than an incoherent jumble? Pesic argues that polyphony raises fundamental issues for philosophy, theology, literature, psychology, and neuroscience—all searching for the apparent unity of consciousness in the midst of multiple simultaneous experiences. After tracing the development of polyphony in Western music from ninth-century church music through the experimental compositions of Glenn Gould and John Cage, Pesic considers the analogous activity within the brain, the polyphonic “music of the hemispheres” that shapes brain states from sleep to awakening. He discusses how neuroscientists draw on concepts from polyphony to describe the “neural orchestra” of the brain. Pesic’s story begins with ancient conceptions of God’s mind and ends with the polyphonic personhood of the human brain and body. An enhanced e-book edition allows the sound examples to be played by a touch.

Polyphony and the Modern asks one fundamental question: what does it mean to be modern in one’s own time? To answer that question, this volume focuses on polyphony as an index of modernity. In The Principle of Hope, Ernst Bloch showed that each moment in time is potentially fractured: people living in the same country can effectively live in different centuries – some making their alliances with the past and others betting on the future – but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age? This book sees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at https://www.taylorfrancis.com/books/edit/10.4324/9781003129837

This work is a collection of essays on the work of John Cowper Powys, the English novelist and Nobel nominee. The critical intention of these essays is to provide a picture of Powys's achievement.

A comprehensive introduction to medieval vocal and choral music, with their rich variety of genres and regional and linguistic traditions.

How the West Was Won contains articles in three main areas of the humanities. It focuses on various aspects of literary imagination, with essays ranging from Petrarch to Voltaire; on the canon, with essays on western history as one of shifting cultural horizons and ideals, and including censorship; and on the Christian Middle Ages, when an interesting combination of religion and culture stimulated the monastic and intellectual experiments of Anselm of Canterbury and Peter Abelard. The volume is held together by the method of persistent questioning, in the tradition of the western church father and icon of the self Augustine, to discover what the values are that drive the culture of the West: where do they come from and what is their future? This volume is a Festschrift for Burcht Pranger of the University of Amsterdam.

Poet and translator of Greek classics Richard Lattimore applies his skills to the four gospels and the Revelation.