A Perfect Chord: Trinity in Music, Music in the Trinity

Bertoglio, Chiara

doi:10.3390/rel4040485

Cited by 3 publications

(1 citation statement)

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“…As New Testament scholar Sandra Schneider famously commented, “God is more than two men and bird” (Schneider, 1990: 20). Yet a simple triad, three separate notes played simultaneously as a chord can communicate a Trinitarian understanding simply and effectively (Bertoglio, 2013: 492). As we delve further into ecofeminist reconceptualizations of God as both immanent and transcendent, music and sound can sonically help us explore these complex and nuanced understandings as well as call us to new frontiers of thought.…”

Section: Sonic Metaphorsmentioning

confidence: 99%

Sonic Metaphors: Music, Sound, and Ecofeminist Theology

Ursic

2021

Feminist Theology

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This article explores the relationship between music and ecofeminist theology and investigates how music and sound can advance the development of ecofeminist thought. On a physical level, the act of breathing connects humankind with the earth’s atmosphere and the element of air produces music and sound. On a theological level, traditional church teachings about the power and danger of music have reflected similar warnings about women and nature. Ecofeminist theologian Sally McFague made a persuasive case for metaphorical theology that supported the arts being included in theological development. Religious Studies scholar Heidi Epstein engaged McFague’s metaphorical theology to develop a feminist theology of music and featured female composers including Hildegard of Bingen. I propose that metaphorical theology and music can also connect through the development of sonic metaphors. Sonic metaphors are created with pitch, rhythm, and sound. While most metaphors rely on the eyes to process written text and visual art, sonic metaphors are processed through the ears and offer different pathways for cognition. Sonic metaphors have been underutilized in theology and they offer potential for exploring theological concepts that can be challenging to comprehend through textual or visual means. These metaphors are particularly applicable for developing ecofeminist theology because sound and music can connect our bodies with nature in illuminating ways. I include examples from my own musical background, and I offer suggestions for non-musicians and ecofeminist theologians who want to incorporate sonic metaphors into their own creative theological reflection.

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Section: Sonic Metaphorsmentioning

confidence: 99%

Sonic Metaphors: Music, Sound, and Ecofeminist Theology

Ursic

2021

Feminist Theology

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My Song is Love Unknown: Liturgical Music and Rational Faith

Stacey

2022

New Blackfriars

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Whilst philosophers have argued that musical experience provides evidence for theism, their discussions often fail to consider the aesthetic properties which give musical experience its distinctive character, or ways in which musical experience might support the beliefs of particular religious traditions. This paper begins to remedy this omission by examining how attention to liturgical music can provide rational support for Christian faith. I first explore music's emotional nature and impact, and its ability to embody Christian narratives and doctrines. In light of this discussion, I then introduce two probabilistic arguments for the truth of Christian orthodoxy, arguing that liturgical music can provide distinctive evidence for their premises.

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Muzyczny wymiar dzieła stworzenia w perspektywie harmonia mundi

Bramorski

2016

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A b s t r a c t. Harmonia mundi is an ancient philosophical concept that regards proportions in the movements of celestial bodies as a form of music. In Greek philosophy, since music is an expression of order and harmony, it is analogous with the harmony of nature, and is sympathetic with it. For Christians, the harmony of creation mirrors the Creator. For St. Augustine concordance and harmony, both in music and in creation, are icons of the perfect concord realized in divine life. In the Middle Ages a special mention is reserved for St. Hildegard von Bingen, for whom the creation's accomplishment is the resonance of the harmony of human praise in God. The connection between the order of creation, the order of numbers and that of musical composition, which is to be found throughout Western thought for centuries, was developed in the Baroque era by important theorists, among whom was Johannes Kepler. It was the form of music itself, with its internal order, which made it part of the cosmic harmony, and, therefore, a mirror of divine wisdom. Western music traditions has indeed displayed that "cosmic character" which Cardinal Joseph Ratzinger considers appropriate for celebration of the Liturgy. He expounded a cosmological vision of worship. The music of the Church is the divine praise of the Logos in the cosmos. As a recent historian of the relation between music, theology and cosmology he has shown the Pythagorean account of music, as a revelation of divine order of creation. Thus the Classical merge into the Christian world is not dismantled.

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A Perfect Chord: Trinity in Music, Music in the Trinity

Cited by 3 publications

References 11 publications

Sonic Metaphors: Music, Sound, and Ecofeminist Theology

Sonic Metaphors: Music, Sound, and Ecofeminist Theology

My Song is Love Unknown: Liturgical Music and Rational Faith

Muzyczny wymiar dzieła stworzenia w perspektywie harmonia mundi

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