Musicology Commons^™

Music Of Worship And The Sanctification Of The Believer, Jonathan D. Twining

Jonathan D Twining

Because of its importance in the life of a believer, music should aid in the sanctification process. The debate concerning the use of contemporary music in church worship contexts arises from the belief that musical styles can either encourage or discourage the sanctification of a believer by influencing emotions. The efficiency of music for the purpose of sanctification should be considered by the listener. Music that is associated with unbiblical influences and intentions may not be fit for use in worship settings.

"Sing To The Lord A New Song": Memory, Music, Epistemology, And The Emergence Of Gregorian Chant As Corporate Knowledge, Jordan Timothy Ray Baker

Masters Theses

Following the Christianization of the crumbling Roman Empire, a wide array of disparate Christian traditions arose. A confusion of liturgical rites and musical styles expressed the diversity of this nascent Christendom; however, it also exemplified a sometimes threatening disunity. Into this frame, the Carolingian Empire made a decisive choice. Charlemagne, with a desire to consolidate power, forged stronger bonds withRome by transporting the liturgy ofRome to the Frankish North. The outcome of this transmission was the birth of a composite form of music exhibiting the liturgical properties ofRome but also shaped by the musical sensibilities of the Franks—Gregorian chant.

This …

The Birth Of Kd Lang’S Hallelujah Out Of The ‘Spirit Of Music’: Performing Desire And ‘Recording Consciousness’ On Facebook And Youtube, Babette Babich

Babette Babich

The Hallelujah Effect on the Internet The initial focus of this essay, apart from important preliminary references to Leonard Cohen is on kd lang, not as composer (although she is one) but musical performer and not as guitarist (although she is one) but as a singer and although her live performances have to make all the difference, very specifically, for the sake of any analysis, specifically as her singing is available in video format on YouTube. Of course there are many readings of kd lang and popular music, and of course most of them focus on the way she dresses, …

The Birth Of Kd Lang’S Hallelujah Out Of The ‘Spirit Of Music’: Performing Desire And ‘Recording Consciousness’ On Facebook And Youtube, Babette Babich

Articles and Chapters in Academic Book Collections

The Hallelujah Effect on the Internet

The initial focus of this essay, apart from important preliminary references to Leonard Cohen is on kd lang, not as composer (although she is one) but musical performer and not as guitarist (although she is one) but as a singer and although her live performances have to make all the difference, very specifically, for the sake of any analysis, specifically as her singing is available in video format on YouTube. Of course there are many readings of kd lang and popular music, and of course most of them focus on the way she dresses, …

The Birth Of Kd Lang’S Hallelujah Out Of The ‘Spirit Of Music’: Performing Desire And ‘Recording Consciousness’ On Facebook And Youtube, Babette Babich

Articles and Chapters in Academic Book Collections

No abstract provided.

Cover Songs: Ambiguity, Multivalence, Polysemy, Kurt Mosser

Philosophy Faculty Publications

The notion of a “cover song” is central to an understanding of contemporary popular music, and has certainly received its share of attention in writing about contemporary music, from the mainstream press to slightly more technical ethnomusicological studies such as “Cross-Cultural ‘Countries’: Covers, Conjuncture, and the Whiff of Nashville in Música Sertaneja (Brazilian Commercial Country Music)” (Dent, 2005). In many major U.S. cities, musicians make a living in “cover” bands, recreating the music of well-known groups such as the Beatles, the Rolling Stones, Pink Floyd, U 2, the Who, ABBA, the Dave Matthews Band, the Grateful Dead, and others. Consumers …

Nietzsche’S “Gay” Science, Babette Babich

Articles and Chapters in Academic Book Collections

Offers a reading of the allusion to the 'Provencal' in Nietzsche’s The Gay Science, including the troubadour’s art (or 'technic') of poetic song, an art at once secret, anonymous and thus nonsubjective, but also including logical disputation, for which it is the model, and comprising, perhaps above all, the important ideal of action (and pathos) at a distance: l’amour lointain. But beyond the Provençal character and atmosphere of the troubadour, Nietzsche’s conception of a joyful science, Nietzsche's 'gay' science also adumbrates a critique of science understood as the collective ideal of scholarship, and including classical philology as much as logic, …

Mousike Techne: The Philosophical Practice Of Music In Plato, Nietzsche, And Heidegger, Babette Babich

Articles and Chapters in Academic Book Collections

After retracing the breadth of the definition of music in antiquity to the end of justifying the sense in which one may speak of 'the music of philosophy' as Plato's Socrates does, this essay re-reads the Platonic distinction between philosophy as the highest kind of music and performative, as heard or played sung music as a lower form. It then turns to an exploration of Nietzsche's writing style conceived on a muscial model precisely qua aphoristic and concludes with a review of Heidegger's thought as musically composed or adumbrated.

A Priestly View Of Bible Arithmetic: Deity's Regulative Aesthetic Activity Within Davidic Musicology, Ernest G. Mcclain

Research Resources

Reading arithmetic proportion in the bible via musical hermeneutics, this essay emphasizes the important role of music in predominantly aural cultures. Applying Patrick Heelan's non-distributive lattice logic to examples extracted from the bible, McClain applies the notion of regulative aesthetic activity to the Davidic musicology embedded in Bible mathology. Includes several illustrative diagrams.

Fred Bartenstein: The Right Place At The Right Time, Kurt Mosser

Philosophy Faculty Publications

Fred Bartenstein has always seemed to find himself perfectly situated to pursue his life-long interest in bluegrass music – as he puts it, “I’ve always seemed to be in the right place at the right time.” This luck has allowed him to find bluegrass in the most surprising places, whether at a private day school in New Jersey, or at Harvard University in the late 1960s. It has also meant that, among other things, he found himself attending the first bluegrass festival in Fincastle, Va., becoming a bluegrass DJ at the age of 16, starting Muleskinner News magazine, and playing …