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.

Wiser Than Despair: The Evolution of Ideas in the Relationship of Music and the Christian Church (Contributions to the Study of Music and Dance)

Arts & Photography

Faulkner, Quentin

Music

Praeger

By Quentin Faulkner. Published by Concordia Publishing House

J.S. Bach's Keyboard Technique: A Historical Introduction

CONCORDIA PUBLISHING* HOUSE

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.

Wiser Than Despair: The Evolution of Ideas in the Relationship of Music and the Christian Church

Religious Affections Ministries

Musica mechanica organoedi / Musical mechanics for the organist, Part 1

Crafts, Hobbies & Home

Adlung, Jacob

Crafts & Hobbies

Zea E-Books

This is Part 3 of the first English translation of Musica mechanica organoedi, published in Berlin in 1768. The German text and its English translation are presented on facing pages. Part 3 includes all the Stoplists printed in the original work and all the stoplists cited from other sources but not originally included, plus bibliography, index, etc. Jacob Adlung (1699-1762) was a musician and scholar and organist at the Predigerkirche in Erfurt. His work focuses primarily on the organ, from the perspective of the information an organist might need to know about the instrument, including building, maintenance, tuning, repair, definitions of hundreds of organ stops, and stoplists of hundreds of central European organs of the 18th century. This is Part 3 of a three-part edition.

Musica mechanica organoedi / Musical mechanics for the organist, Part 3

SYNTAGMA MUSICUM II, De Organographia, Parts III – V, with Index

Praetorius, Michael

Reference

Zea Books

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