Hearing Faith
Autor Andrew A Cashneren Limba Engleză Hardback – 16 iul 2020
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Specificații
ISBN-13: 9789004414976
ISBN-10: 9004414975
Pagini: 244
Dimensiuni: 155 x 235 x 20 mm
Greutate: 0.51 kg
Editura: Brill
ISBN-10: 9004414975
Pagini: 244
Dimensiuni: 155 x 235 x 20 mm
Greutate: 0.51 kg
Editura: Brill
Notă biografică
Andrew A. Cashner, PhD (2015, University of Chicago), is an assistant professor of music at the University of Rochester. Recipient of the American Musicological Society’s 2015 Alfred Einstein Award, he published a critical edition of Villancicos about Music in 2017.
Recenzii
“Cashner combines forensic musical and textual analysis to reveal the villancico as an unexpected site for theological discourse and in doing so opens the way for the much more comprehensive study of music as theology in the vast Spanish empire that his title invites. One is left wondering if a similar methodology applied to the unstudied repertories of music composed in and for Jesuit colleges and missions might reveal further insights into the multiple relationships between music and theology.”
Michael Noone, Boston College. In: Journal of Jesuit Studies, Vol. 8, No. 2 (2021), pp. 329–332.
Michael Noone, Boston College. In: Journal of Jesuit Studies, Vol. 8, No. 2 (2021), pp. 329–332.
Cuprins
Acknowledgments
List of Illustrations and Tables
1 Villancicos as Musical Theology
1Singing about Singing
2Paying Attention to Villancicos
3Music about Music in the Villancico Genre
4Theological Listening in the Neoplatonic Tradition
2 Making Faith Appeal to Hearing
1“The Sense Most Easily Deceived”
2Well-Tempered Hearing
3Accommodating and Training the Ear
4Impaired Hearers, Incompetent Teachers: “Villancicos of the Deaf”
5Failures of Faithful Hearing
3 Christ as Singer and Song (Puebla, 1657)
1“Voices of the Chapel Choir” and the “Unspeaking Word”
2Music about Music in the Voices of Puebla’s Chapel Choir
3Devotion to Christ as Singer and Song
4Establishing a Pedigree in a Lineage of Metamusical Composition
5“All Who Heard It Were Amazed”
4 Heavenly Dissonance (Montserrat, 1660s)
1Cererols and the Boys’ School Choir of Montserrat
2The “New Consonance”
3Worldly and Heavenly Music
4Genealogies of Heavenly Music
5The Problem of Perfection
5 Offering and Imitation (Zaragoza, 1650–1700)
1“Let Voices Ascend to Heaven”: From Bruna to Ambiela
2Christ as a Vihuela (Cáseda)
3Conclusions
Bibliography
Index
List of Illustrations and Tables
Part 1 Listening for Faith
1 Villancicos as Musical Theology
1Singing about Singing
2Paying Attention to Villancicos
3Music about Music in the Villancico Genre
4Theological Listening in the Neoplatonic Tradition
2 Making Faith Appeal to Hearing
1“The Sense Most Easily Deceived”
2Well-Tempered Hearing
3Accommodating and Training the Ear
4Impaired Hearers, Incompetent Teachers: “Villancicos of the Deaf”
5Failures of Faithful Hearing
Part 2 Listening for Unhearable Music
3 Christ as Singer and Song (Puebla, 1657)
1“Voices of the Chapel Choir” and the “Unspeaking Word”
2Music about Music in the Voices of Puebla’s Chapel Choir
3Devotion to Christ as Singer and Song
4Establishing a Pedigree in a Lineage of Metamusical Composition
5“All Who Heard It Were Amazed”
4 Heavenly Dissonance (Montserrat, 1660s)
1Cererols and the Boys’ School Choir of Montserrat
2The “New Consonance”
3Worldly and Heavenly Music
4Genealogies of Heavenly Music
5The Problem of Perfection
5 Offering and Imitation (Zaragoza, 1650–1700)
1“Let Voices Ascend to Heaven”: From Bruna to Ambiela
2Christ as a Vihuela (Cáseda)
3Conclusions
Bibliography
Index