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Religion and music are complementary resources for interpreting our lives. Music serves the sacred in ways that can be specified and articulated, yet the connection between them has been sorely neglected in the scholarly study of religion. In The Sacred in Music, Albert Blackwell brings the two subjects together in a celebration of the rich Western musical tradition, both classical and Christian.
A Study Guide and a Teacher’s Manual Gospel Principles was written both as a personal study guide and as a teacher’s manual. As you study it, seeking the Spirit of the Lord, you can grow in your understanding and testimony of God the Father, Jesus Christand His Atonement, and the Restoration of the gospel. You can find answers to life’s questions, gain an assurance of your purpose and self-worth, and face personal and family challenges with faith.
This thesis seeks to present a theological basis for the significant role of music in the encounter with God, by way of the Catholic spiritual tradition. It argues that musical experience, in its appeal to the entirety of the human person, is readily able to serve as a means of God's self-revelation and a medium of grace, readying those who engage in it to encounter the divine, and possibly becoming, in and of itself, a locus of that encounter. The way in which music functions as sacramental is upheld by its participation in the mysteries of beauty and of human creativity, and ultimately undergirded by the Incarnation. This dissertation contends that the spiritual resonance of music is grounded in, as well as reveals afresh, the sacramental world in which we live. Further, this project grants music a pastoral value, in claiming its capability, allied with beauty, to contribute to our spiritual formation in Christ, commissioning us in the Christian vocation to love. Taking a thematic approach, this study employs Catholic theology and spirituality as a framework by which to understand and incorporate the potentiality and relevance of music in the life of faith. The conclusion of each chapter discusses particular pieces of music that serve to apply and to deepen the theological insights that went before. Chapter 1 takes sacramentality as a starting point, proposing that the dynamic of music-making is an echo of the sacramental cycle of receiving-offering-receiving anew. Chapter 2 moves to a consideration of the Incarnation, perception via the spiritual senses, and music's relationship to the body. Chapter 3 pursues beauty as a transcendental property of Being and music's role in bearing the beautiful. Chapter 4 examines contemplation, employing the musical metaphor of "listening" to the life of prayer. Finally, Chapter 5 posits the repercussions of music's sacramentality for our relationship with God and neighbour, i.e., the fruitfulness of Christian discipleship that finds its ultimate model in the Blessed Virgin Mary.
Meeting House Essays in a series of papers reflecting on the mystery, beauty and practicalities of the place of worship. This popular series was begun in 1991, and each resource focuses on a particular aspect of space, design or materials and how they relate to the liturgy.
This volume examines the sacramental element in a wide range of areas - fine art, music, topography and time. Contributors focus on the sense of the holy in their different fields. This study should appeal to all those interested in spirituality, music, liturgy and art.
As musicians, we routinely witness — and personally experience — the powerful influence music has over our bodies, emotions, and minds. As parish musicians, our task is to wield this power in service of the Eucharistic Heart of Jesus on the altar. Indeed, your music, by speaking to humanity in a language deeper than words, can save our world by drawing souls to Christ where He most longs to encounter them — in the Eucharist. Nothing can spark and fan the flames of desire — of longing, love, awe, and reverence — quite like music can when it is skillfully directed to the task. That’s why I’ve written Music and Meaning in the Mass — to guide you carefully through the principles that help draw congregants into active participation in the Mass. Rather than advocating any particular musical style in the liturgy,
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.