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Sto caricando le informazioni... Christian Music: A Global Historydi Tim Dowley
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Tim Dowley's popular history of Christian music is the first to encompass all eras, regions, and varieties of this rich and vast treasure. From its Jewish origins, through medieval chant and hymns, to gospel and rock, Christian music around the world is harmonized beautifully in this colorfully illustrated survey. Dowley travels beneath the plurality of forms and styles to pose questions about the meaning of diverse traditions. His skillful narrative and fascinating insights from specialists combine for a truly global history of Christianity's musical culture. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)781.71The arts Music General principles and musical forms Sacred musicClassificazione LCVotoMedia:
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It was good to be reminded of the rise of Christian rock and the banning of early practitioners like Larry Norman, 1970s pioneer of “Jesus Music”, and to see its place in the development from Gospel to praise music.
The strength of this book is its breadth, and the clarity with which such a wide range of music is described. It is beautifully and generously illustrated adding a further dimension of understanding: depictions of early instruments with comments on their accuracy are a great aid to understanding a little more of the type of music of each period. A few screenshots show the development of musical notation and its impact on composition without drowning the reader in technical description, and sensitive portraits make the viewer ponder the sensibility of individual composers.
Seven specialist contributors take the reader to places where Dr Dowley was not so familiar: Dr Mark Evans is the guide for Australia and the Pacific, Lisbon-based Orthodox priest the Reverend Dr Ivan Moody explores Orthodox music.
Of course, breadth leads to mistakes of over-simplification. Gustav Mahler, for example, whose music has a complex and intentional Christian dimension, is dismissed in a sentence: “Gustav Mahler, a convert to Catholicism, confessed he could not compose a mass because he could not affirm the Credo.” (p.165). In contrast the sceptic Verdi and the Jewish Mendelssohn rightly receive one page and three pages respectively for their efforts in writing music around Christian themes (p.162, pp.159-161).
To produce a book like this, charmingly presented, wide-ranging and clearly written, of course involves many choices about inclusions. It is too easy to nit-pick on the basis of what has been left out. What has been left in covers a huge range of material placed in a narrative which reveals the dynamism, inventiveness and beauty of music inspired by Christian faith and used in Christian worship.
It will remain on my shelf as a reference and a companion to treasure. ( )