Overview

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.

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9780313296451

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Reviews

At a time of great uncertainly regarding the very nature of music for the church, owing to massive shifts in taste and culture among the church-going public, this is a most welcome study, if for no other reason than the revelation that church music has been through equally rough waters before. This work will become a standard reference for the serious scholar of sacred music. -James Moeser, Vice-president for Academic Affairs, University of South Carolina past president, American Guild of Organists At this juncture in the history of church music, Wiser Than Despair is perhaps the most important book which could be written. It takes its place among the finest studies of church music in the English language. - Michael Bauer, Associate Professor of Music, University of Kansas ?Quentin Faulkner has supplied us with a brilliant historical survey of how the relationships between music and church have changed over the centuries. Lucid and lively, filled with quotations from sources spanning. 2000 years, this book is necessary reading for anyone who wants to make informed decisions about how music is to function in the church.?-Homelectic Quentin Faulkner has supplied us with a brilliant historical survey of how the relationships between music and church have changed over the centuries. Lucid and lively, filled with quotations from sources spanning. 2000 years, this book is necessary reading for anyone who wants to make informed decisions about how music is to function in the church. -Homelectic

At a time of great uncertainly regarding the very nature of music for the church, owing to massive shifts in taste and culture among the church-going public, this is a most welcome study, if for no other reason than the revelation that church music has been through equally rough waters before. This work will become a standard reference for the serious scholar of sacred music. -James Moeser, Vice-president for Academic Affairs, University of South Carolina past president, American Guild of Organists

Author Information

QUENTIN FAULKNER is Steinhart Distinguished Professor of Music at the University of Nebraska, Lincoln. He teaches organ and has developed a unique series of courses in church music. Dr. Faulkner's articles on various aspects of church music have appeared in The American Organist, The Diapason, The Christian Ministry, and Liturgy.

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