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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.
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.
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,
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.
The reform of the liturgy has dramatically changed the way Roman Catholics and all Christians understand their worship. The arena of the encounter has shifted from a passive experience of observation of the great Mysteries to one that invites active participation on many levels. Yet, the imagination of many who preach, preside, and gather to worship continues to be shaped by a passive model as well as by the notion of sacramental activity as a product to be received or given. In The Holy Preaching, Janowiak deepens the discussion of Christ's presence in the Word by offering reflection on the disparity between the theology and the practice of preaching and some explanation as to why that disparity exists.
David Brown explores the ways in which the symbolic associations of the body and what we do with it have helped shape religious experience and continue to do so. A Church narrowly focused on Christ's body wracked in pain needs to be reminded that the body as beautiful and sexual has also played a crucial role not only in other religions but also in the history of Christianity itself. Dance was one way in which the connection was expressed. The irony is not that such a connection has gone but that it now exists almost wholly outside the Church. Much the same could be said about music more generally, and Brown writes excitingly about the spiritual potential of not just classical music but also pop, jazz, musicals, and opera. Like Brown's much-praised earlier volumes, God and Enchantment of Place, Tradition and Imagination, and Discipleship and Imagination, the present book will enlarge horizons and challenge the narrowness of much theological thinking.
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 is an exploration of the varied and sometimes unrecognized ways in which music—especially in ritual contexts—can serve as both a spiritual conduit as well as a theological source. With topics ranging from a Congolese choir in Ireland to the Orthodox chant in Georgia, from postmodern reflections on new Passion compositions to reflections on the sacramentality of Black gospel music, this volume offers a rich plumbing of very diverse yet well researched musical traditions—case studies from around the globe—for their spiritual and theological contributions.
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.