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The Reinvention of Religious Music - Sander Van Maas - Bog - Fordham University Press - Plusbog.dk

The Reinvention of Religious Music - Sander Van Maas - Bog - Fordham University Press - Plusbog.dk

On the basis of a careful analysis of Olivier Messiaen''s work, this book argues for a renewal of our thinking about religious music. Addressing his notion of a "hyper-religious" music of sounds and colors, it aims to show that Messiaen has broken new ground. His reinvention of religious music makes us again aware of the fact that religious music, if taken in its proper radical sense, belongs to the foremost of musical adventures.The work of Olivier Messiaen is well known for its inclusion of religious themes and gestures. These alone, however, do not seem enough to account for the religious status of the work. Arguing for a "breakthrough toward the beyond" on the basis of the synaesthetic experience of music, Messiaen invites a confrontation with contemporary theologians and post-secular thinkers. How to account for a religious breakthrough that is produced by a work of art?Starting from an analysis of his 1960s oratorio La Transfiguration de Notre-Seigneur Jésus-Christ, this book arranges a moderated dialogue between Messiaen and the music theology of Hans Urs von Balthasar, the phenomenology of revelation of Jean-Luc Marion, the rethinking of religion and technics in Jacques Derrida and Bernard Stiegler, and the Augustinian ruminations of Søren Kierkegaard and Jean-François Lyotard. Ultimately, this confrontation underscores the challenging yet deeply affirmative nature of Messiaen''s music.

DKK 271.00
1

Arvo Part - - Bog - Fordham University Press - Plusbog.dk

Arvo Part - - Bog - Fordham University Press - Plusbog.dk

Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Pärt studies? In taking up these questions, the book “de-Platonizes” Pärt studies by demystifying the notion of a single “Pärt sound.” It offers innovative, critical analyses of the historical contexts of Pärt’s experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Pärt’s music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Pärt’s music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Pärt studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

DKK 306.00
1

Audible Loss - Andrea Zarafshon Moore - Bog - Fordham University Press - Plusbog.dk

Audible Loss - Andrea Zarafshon Moore - Bog - Fordham University Press - Plusbog.dk

An innovative and much-needed critical work on music and memorialization in relation to AIDS, 9/11, and anti-Black violence in America Music has long served as a powerful medium for communal mourning and remembrance in times of crisis. Audible Loss examines musical responses to three major crises in US society at the turn of the twenty-first century: the AIDS epidemic, the terrorist attacks of September 11, 2001, and the ongoing conditions of anti-Black violence.Analyzing a range of works written to commemorate these losses, Andrea Zarafshon Moore explores how contemporary classical music (aka “new music”) frames and narrates these crises, gives voice to grief, imagines other possibilities, and makes loss audible. These crises are read alongside one another to reveal the ways they are mutually imbricated, while also recognizing the sheer commemorative dominance of 9/11 in this century. Attending to broader debates and discourses through which commemoration is always filtered and the ways interpretive consensus has been sought and articulated in both musical and other memorial forms, Moore probes the conventional claims of commemoration, particularly those for the necessity of remembrance to “healing” and the prevention of future crises. Audible Loss concludes by reflecting on the limits of existing commemorative forms and the possibility, even necessity, of new ones. Taking the COVID-19 pandemic as a case study, it proposes that while memorials of all kinds may provide outlets for collective remembrance and even mourning, their power to forge a sense of collectivity is diminished as public discourse grows more fragmented. Deeply informed yet highly approachable, Audible Loss is a major contribution to the fields of music and memory studies and essential reading for anyone interested in memory culture in the United States today.

DKK 250.00
1

Hits - Peter Szendy - Bog - Fordham University Press - Plusbog.dk

Hits - Peter Szendy - Bog - Fordham University Press - Plusbog.dk

Hits: Philosophy in the Jukebox is an extraordinary foray into what apple has convinced us is “the soundtrack of our lives.” How does music come to inhabit us, to possess and haunt us? What does it mean that a piece of music can insert itself—Szendy’s term for this, borrowed from German, is the earworm—into our ears and minds?In this book, Peter Szendy probes the ever-growing and ever more global phenomenon of the hit song. Hits is the culmination of years of singular attentiveness to the unheard, the unheard-of, and the overheard, as well as of listening as it occurs when one pays anything but attention. Szendy takes us through our musical bodies, by way of members and instruments, playing and governing apparatuses, psychic and cinematic doublings, political and economic musings. The hit song, Szendy concludes, functions like a myth, a force of repetition that grows by force of repetition. In the repetition generated by the song’s relation to itself, Szendy locates its production as a fetishized commodity, a self-producing structure, and a self-desiring machine. Like a Deleuzian machine, then, the hit song is a technology of the self, or better, a technology of rule, a bio-melo-technology. After reading this book, one can no longer avoid realizing that music is more thana soundtrack: It is the condition of our lives. We are all melomaniacs, Szendy tells us in his unique style of writing and of thought. We are melo-obsessive subjects, not so much driven to a frenzy by a music we hardly have time to listen to as governed and ruled by it.

DKK 716.00
1

Hits - Peter Szendy - Bog - Fordham University Press - Plusbog.dk

Hits - Peter Szendy - Bog - Fordham University Press - Plusbog.dk

Hits: Philosophy in the Jukebox is an extraordinary foray into what apple has convinced us is “the soundtrack of our lives.” How does music come to inhabit us, to possess and haunt us? What does it mean that a piece of music can insert itself—Szendy’s term for this, borrowed from German, is the earworm—into our ears and minds?In this book, Peter Szendy probes the ever-growing and ever more global phenomenon of the hit song. Hits is the culmination of years of singular attentiveness to the unheard, the unheard-of, and the overheard, as well as of listening as it occurs when one pays anything but attention. Szendy takes us through our musical bodies, by way of members and instruments, playing and governing apparatuses, psychic and cinematic doublings, political and economic musings. The hit song, Szendy concludes, functions like a myth, a force of repetition that grows by force of repetition. In the repetition generated by the song’s relation to itself, Szendy locates its production as a fetishized commodity, a self-producing structure, and a self-desiring machine. Like a Deleuzian machine, then, the hit song is a technology of the self, or better, a technology of rule, a bio-melo-technology. After reading this book, one can no longer avoid realizing that music is more thana soundtrack: It is the condition of our lives. We are all melomaniacs, Szendy tells us in his unique style of writing and of thought. We are melo-obsessive subjects, not so much driven to a frenzy by a music we hardly have time to listen to as governed and ruled by it.

DKK 275.00
1