Results for 'Sacred Music'

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  1.  68
    Sacred Music, Religious Desire and Knowledge of God: The Music of Our Human Longing.Julian Perlmutter - 2020 - London, UK: Bloomsbury Academic.
    Many people find sacred choral music profound and deeply evocative, even in societies that seem to be turning away from religious belief. In this book, Julian Perlmutter examines how, in light of its wide appeal, sacred music can have religious significance for people regardless of their religious convictions. -/- By differentiating between doctrinal belief and the desire for God, Perlmutter explores a longing for the spiritual that is compatible with both belief and 'interested non-belief'. He describes (...)
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  2. Peter Kivy, Sacred Music, and Affective Response: Knowing God Through Music.Julian Perlmutter - manuscript
    Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred (...) in the Western, classical tradition. In investigating this topic, I tackle an issue at the interface between the philosophy of religion and aesthetics: sacred music’s capacity to arouse religious emotions. I use as a springboard Peter Kivy’s view that ‘music alone’ can only arouse emotions about itself. This view, I argue, has a counterintuitive consequence: the music in sacred works would play no part in arousing emotions with religious objects. In contrast, I develop an account of how music combines with religious factors to arouse religious emotions. I then draw out two consequences for how music can facilitate understanding between religious and non-religious outlooks. The upshot of all this, I suggest, is that by expanding the listener’s religious-emotional landscape, sacred music can enrich her knowledge of God – and that this is possible whether or not the listener subscribes propositionally to God’s reality or to any other religious doctrines. (shrink)
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  3.  11
    Sacred Music in the Classroom: A Pluralistic View.Austin Caswell - forthcoming - Philosophy of Music Education Review.
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  4.  45
    Aesthetics and Sacred Music.Gordon Graham - 2014 - Faith and Philosophy 31 (3):243-255.
    This paper aims to show how philosophical debates about the nature of music as an art can throw light on one of the problems raised by Plato’s Euthryphro—how can human beings serve the gods?—and applies this to the use of music in worship. The paper gives a broad overview of expressivist, representationalist and formalist philosophies of music. Drawing in part on Hanslick, Nietzsche and Schleiermacher, it argues that formalism as a philosophy of sacred music can (...)
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  5.  19
    Prosodic Rhythm in Jewish Sacred Music : Examples from the Persian-Speaking World.Evan Rapport - forthcoming - Rhuthmos.
    This text has already been published in Asian Music, vol. 47, n° 1, Winter/Spring 2016, University of Texas Press, pp. 64-102.: Musical rhythms are connected to prosodic principles in many Jewish sacred music practices. For Persian-speaking Jews of Iran and Central Asia, rhythms are especially informed by ingrained habits of interpreting Persian quantitative poetic meters, applied to both Hebrew- and Persian-language texts. For describing and analyzing Jewish sacred music in - Poétique et Études littéraires – (...)
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  6.  25
    Greek Philosophy and Sacred Music.Johannes Quasten - 1941 - New Scholasticism 15 (3):255-260.
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  7.  11
    Socio-psychological essence of sacred music of Ukrainian Orthodoxy.I. M. Haryton - 2004 - Ukrainian Religious Studies 30:56-67.
    The psychological side of Ukrainian spiritual music is one of its most important and defining factors, because it forms the essence through which the most important function of this music - the function of its psychological influence on the person - is carried out.
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  8.  1
    Philosophical Reflections on the Interplay of Music and Religious Beliefs: European Sacred Music in Intercultural Education.Xitong Wang & Chenyang Wang - 2025 - European Journal for Philosophy of Religion 17 (2):13-32.
    The study of the emotion-inducing function of music education is an important part of the basic theoretical research of music education, which influences the positioning of the basic nature and value attributes of music education, and at the same time, it also plays a practical role in the teaching practice of music education. In this paper, music education plays the role of “healthy psychology” with the help of the characteristic of “emotionality”. It takes music (...)
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  9.  22
    Review of: Julian Perlmutter, "Sacred Music, Religious Desire and Knowledge of God: The Music of Human Longing". [REVIEW]Joshua Cockayne - 2022 - European Journal for Philosophy of Religion 14 (2).
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  10.  29
    Some Capuchin Views of, and Contributions to Sacred Music.Aloysius Knoll - 1959 - Franciscan Studies 19 (3-4):325-333.
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  11.  57
    Music As a Sacred Cue? Effects of Religious Music on Moral Behavior.Martin Lang, Panagiotis Mitkidis, Radek Kundt, Aaron Nichols, Lenka Krajčíková & Dimitris Xygalatas - 2016 - Frontiers in Psychology 7:175848.
    Religion can have an important influence in moral decision-making, and religious reminders may deter people from unethical behavior. Previous research indicated that religious contexts may increase prosocial behavior and reduce cheating. However, the perceptual-behavioral link between religious contexts and decision-making lacks thorough scientific understanding. This study adds to the current literature by testing the effects of purely audial religious symbols (instrumental music) on moral behavior across three different sites: Mauritius, the Czech Republic, and the USA. Participants were exposed to (...)
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  12.  7
    Sacred Echoes in Secular Melodies: Philosophical and Religious Interpretations of Modern Chinese Vocal Music.Congju Song - 2024 - European Journal for Philosophy of Religion 16 (2):69-86.
    The mid-19th century marked a pivotal transition in Chinese society from a predominantly feudal structure to a more complex semi-colonial and semi-feudal society. This transformation was paralleled by the introduction of Western musical philosophies, including concepts of self-discipline and heteronomy, which began to permeate the Chinese cultural landscape. As these Western ideas took root, they significantly influenced the development of China's traditional vocal music, leading to a distinctive dichotomy between the musical traditions of the North and the South—epitomized by (...)
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  13. The Sacred Bridge: The Interdependence of Liturgy and Music in Synagogue and Church during the First Millenium.Eric Werner - 1959
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  14. Sacred performance : two instances of musical architecture in Cambridge.Ayla Lepine - 2011 - In Charlotte De Mille (ed.), Music and modernism, c. 1849-1950. Newcastle upon Tyne, UK: Cambridge Scholars Press.
     
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  15. Poetry, Music and the Sacred.David Fuller - 1999 - In David Fuller & Patricia Waugh (eds.), The Arts and Sciences of Criticism. Oxford University Press.
     
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  16.  46
    Sacred cows in the psychology of music.Paul R. Farnsworth - 1948 - Journal of Aesthetics and Art Criticism 7 (1):48-51.
  17.  17
    Sacred cows in the psychology of music.Paul It Farnsworth - 1948 - Journal of Aesthetics and Art Criticism 7 (1):48-51.
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  18.  10
    Echoes of the Sacred: Philosophical and Spiritual Dimensions of Preserving and Digitally Transmitting American Musical Heritage.Meng Zhou & Shushan Deng - 2024 - European Journal for Philosophy of Religion 16 (2):156-173.
    In the contemporary world, the safeguarding and transmission of cultural heritage have garnered increasing attention, emphasizing the need for comprehensive strategies to preserve such legacies. American vocal music, with its rich spiritual and cultural connotations, represents a critical element of this heritage. This paper explores the unique characteristics and historical significance of American singing styles, particularly focusing on how these forms embody broader philosophical and spiritual narratives. Employing digital technologies, this study not only seeks to preserve the authentic essence (...)
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  19.  12
    Ajornamento sacred art of Catholicism in the context of philosophical analysis.Maksym Melnychuk - 2013 - Ukrainian Religious Studies 66:364-371.
    An alternative to the traditional religious and religious art was the time, which, especially in the XX century, began to intensively transform the entire arsenal of sacred art into the art at a fast pace. All changed - architecture, fine arts, music, literature... There were new types of art, and traditional ones, under the pressure of socio-economic changes and globalization processes, experienced significant deformations in both form and content. Extrapolation of these tendencies to the life of the Christian (...)
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  20.  9
    Harmonizing the Sacred and the Profound: A Philosophical Exploration of Musical Expression and Spiritual Experience in Piano Performance.Qian Li - 2024 - European Journal for Philosophy of Religion 16 (2):18-34.
    This study explores the integration of playing and singing within piano performance, viewing this fusion as a profound expression of both musical and spiritual experience. Through the lens of art philosophy, we examine the mutual enrichment of piano performance and vocal expression, considering their roles in enhancing the depth and emotional resonance of musical presentation. This paper articulates the theoretical underpinnings and practical methodologies for merging perceptual and expressive elements in piano performances, structured around three core areas of practical exploration. (...)
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  21.  8
    Sacred Art Between Tradition and Personal Expression: The Orthodox Icon and Artistical Transgressions of the Canon.Andreea Stoicescu - 2021 - Diakrisis Yearbook of Theology and Philosophy 4:61-78.
    The aim of this article is to present a personal reflection regarding the theoretical/philosophical relation between the generally accepted theological grounding of icon painting and other contemporary artistical endeavours to integrate the religious feeling – of Christian-Orthodox inspiration. This reflection is based on a mixture of ideas from different thought-frameworks which have as common ground the need for speculating on issues such as ‘tradition understanding’, ‘personal expression’, ‘art and religiousness’, exactly those key-themes that are constituting the fundamental threads of my (...)
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  22.  21
    7. The Sacred Space of Music.Roger Scruton - 2014 - In The Soul of the World. Princeton University Press. pp. 140-174.
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  23.  16
    2. Anton Bruckner, Sacred Tonality, and Parsifal's Redemption: Spiritual Enfleshment and the Musical Via Positiva.Peter A. Kwasniewski - 2005 - Logos: A Journal of Catholic Thought and Culture 8 (2):17-55.
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  24.  10
    The melodic substance of sacred choral music.Adriana Drăgan - 2008 - Linguistic and Philosophical Investigations 7.
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  25.  52
    Sacred Sounds: The Cult of Pan and the Nymphs in the Vari Cave.Carolyn M. Laferrière - 2019 - Classical Antiquity 38 (2):185-216.
    Religious ritual in ancient Greece regularly incorporated music, so much so that certain instruments or vocal genres frequently became associated with the religious veneration of specific gods. The Attic cult of Pan and the Nymphs should also be included among this group: though little is often known about the specific ritual practices, the literary and visual evidence associated with the cults make repeated reference to music performed on the panpipes—and to auditory and sensory stimuli more generally—as a prominent (...)
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  26. Signe, symbole et sacré dans l'art musical.Eric Emery - 1994 - Cahiers Internationaux de Symbolisme.
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  27.  23
    Anglican cathedrals and implicit religion: Softening the boundaries of sacred space through innovative events and installations.Ursula McKenna, Leslie J. Francis & Francis Stewart - 2022 - HTS Theological Studies 78 (4):11.
    High profile (and controversial) events and installations, like the Helter-Skelter in Norwich and the Crazy Golf Bridges in Rochester, have drawn attention to innovation and public engagement within Anglican cathedrals. The present study contextualised these innovations both empirically and conceptually. The empirical framework draws on cathedral websites to chronicle the wide and diverse range of events and installations hosted by Anglican cathedrals in England and the Isle of Man between 2018 and 2022. The conceptual framework draws on Edward Bailey’s theory (...)
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  28.  19
    Sounding the sacred in the age of fake news – Practical theology reflecting on the public sphere.Elsabé Kloppers - 2020 - HTS Theological Studies 76 (2):6.
    The public sphere, in which religion is lived and in which religious singing functions, is briefly discussed and related to manipulated truths and ‘fake news’ regarding the use of spiritual songs and hymns as religious and cultural offerings, with reference especially to texts displaying a disregard for responsible hermeneutical principles. A plea is made not only for a practical theology that engages critically with the fundamentals of the current culture and the use of religious symbols in public, but also for (...)
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  29. "Where nature will speak to them in sacred sounds" : music and transcendence in E.T.A. Hoffmann.Thomas J. Mulherin - 2015 - In Férdia J. Stone-Davis (ed.), Music and Transcendence. Ashgate. pp. 159-176.
  30.  17
    Performing the sacred – Aspects of singing and contextualisation in South Africa.Elsabé Kloppers - 2020 - HTS Theological Studies 76 (2):1-9.
    After an introduction and views on inculturation, the focus shifts to ‘incarnation’ and ‘contextualisation’ in a broader sense, to also include the transformation and adaptation of the ‘sacred’ for the secular or political sphere. Practices of performing faith through texts and music within diverse liturgical, spiritual, cultural and political contexts in South Africa are discussed. Aspects taken into account are the possible influence of landscape or seasons on the expression of faith and the possible sacro-soundscapes that could come (...)
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  31.  20
    Paul Merkley, Music and Patronage in the Court of René d’Anjou: Sacred and Secular Music in the Literary Program and Ceremonial. (Medieval and Renaissance Texts and Studies 498.) Tempe: Arizona Center for Medieval and Renaissance Studies, 2017. Pp. x, 414; black-and-white figures. $78. ISBN: 978-0-8669-8553-6. [REVIEW]Jeffrey J. Dean - 2022 - Speculum 97 (4):1231-1233.
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  32. Stravinsky's Poétique musicale: The composer as Homo faber. Antisemitism, Le Sacre du printemps and Adorno's critique.Antonia Tejeda Barros - 2024 - Arte, Entre Paréntesis 18 (1):18–33.
    Stravinsky considered himself a maker, a Homo faber, an artisan of the past. He confessed that he liked to compose music more than music itself, and argued that expression was not an immanent character of music. With this paper, I intend to discuss Stravinsky’s musical aesthetics (the Charles Eliot Norton Lectures given right after the outbreak of WWII –Poétique musicale), depicting and criticising his notion of expression and his view of the musician as mere “executant”. I will (...)
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  33.  13
    Pommes agonistiques à Delphes : réflexions autour du cognassier sacré d'Apollon.Sylvain Perrot - 2009 - Bulletin de Correspondance Hellénique 133 (1):153-168.
    Agonistic Apples at Delphi : Reflexions about Apollo''s Sacred Quince Tree According to texts and iconography a new award was created during Roman times for Pythian winners : mh''la, «apples ». It seems possible to identify more precisely the variety, thanks to ancient texts about botany, especially one from Athenaeus who speaks about mh''la Delf ikav. These one were maybe obtained by grafting an apple tree on a quince tree. This graft was particularly liked in the Greco-Roman world. For (...)
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  34.  11
    Textural structure and manner of execution in sacred choral music.Ovidiu Drăgan - 2008 - Linguistic and Philosophical Investigations 7.
  35. Camping the sacred: homosexuality and religion in the works of Poulenc and Bernstein.Christopher Moore - 2018 - In Christopher Moore & Philip Purvis (eds.), Music & camp. Middletown, Connecticut: Wesleyan University Press.
     
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  36.  53
    The secular reception of relgious music.David Pugmire - 2006 - Philosophy 81 (1):65-79.
    Sacred music expresses and evokes emotional attitudes of distinctive kinds. Even people who are irreligious in their beliefs can find themselves moved by it in these ways. It has been suggested that for an unbeliever to cherish the experience of sacred music may actually constitute a form of sentimentality. This paper considers just what the appeal of this sort of music is, to believers as well as to unbelievers. There are non-religious musical works that have (...)
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  37.  27
    Fashioning Sufi: body politics of androgynous sacred aesthetics.Sara Shroff - 2022 - Feminist Theory 23 (3):407-419.
    Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta with matching shalwar and an ajrak shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and (...)
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  38.  14
    Sarah Brazil, The Corporeality of Clothing in Medieval Literature: Cognition, Kinesis, and the Sacred. (Early Drama, Art, and Music.) Kalamazoo, MI: Medieval Institute Publications, 2018. Pp. x, 174; 4 color plates and 3 black-and-white figures. $99.99. ISBN: 978-1-5804-4357-9. [REVIEW]Leslie Anderson - 2021 - Speculum 96 (1):184-186.
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  39.  16
    Nietzsche, Hamsun, and Sacred Violence.Maria P. Matyushova, Alexandra S. Perepechina & Dmitry V. Mamchenkov - 2022 - RUDN Journal of Philosophy 26 (2):418-426.
    This article deals with the analysis of neo-mythological and pantheistic subjects in the works of Friedrich Nietzsche and Knut Hamsun. The analytical comparison of Nietzsche’s philosophical concepts and Hamsun’s literary psychologism is poised to find an underlying understanding of human nature at the confluence of ethics and aesthetics - of goods and beauty, of evil and ugly. A precise definition of the aesthetic categories “Apollonian” and “Dionysian” is carried out based on Nietzsche’s work “The Birth of Tragedy from the Spirit (...)
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  40. Art and the Religious Experience: The Language of the Sacred[REVIEW]D. L. - 1973 - Review of Metaphysics 27 (1):147-147.
    How can the sacred be artistically expressed? The answer to this question depends greatly on the precise relation of the aesthetic to the religious experience. F. David Martin considers them both to be participative experiences which reveal the ontological beyond the ontic. Yet while the aesthetic experience and its artistic expression only implicitly attain Being as transcendent, religious art conveys an explicit awareness of transcendence. Religious expressiveness is achieved by a strong embodiment of the iconic element present in all (...)
     
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  41.  8
    Hermeneutics and the Sacred: Exploring Philosophical Dimensions of Piano Performance Teaching Within Religious Art Education.Zhen Xu - 2024 - European Journal for Philosophy of Religion 16 (1):299-317.
    The philosophy of piano performance teaching, rooted in hermeneutic theory, represents a significant evolution from traditional pedagogical methods. This approach emphasizes a shift from mere knowledge transmission to a deeper, interpretative understanding of music, prioritizing the dialogic interaction between teacher and student. Such an educational framework underscores the ontological essence of music, advocating for respect for its historical and contemporary realities and elevating the interpretative role of the student within the learning process. In this context, piano performance teaching (...)
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  42.  15
    The harmonic origins of the world: sacred number at the source of creation.Richard Heath - 2018 - Rochester, VT: Inner Traditions.
    A profound exploration of the simple numerical ratios that underlie our solar system, its musical harmony, and our earliest religious beliefs.
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  43.  12
    Music in the flesh: an early modern musical physiology.Bettina Varwig - 2023 - Chicago: University of Chicago Press.
    Music in the Flesh reimagines the lived experiences of music-making subjects (composers, musicians, listeners) in the long European seventeenth century. There are countless historical testimonies of the powerful effects of music upon early-modern bodies, described as moving, ravishing, painful, dangerous, curative, miraculous, and encompassing "the circulation of the humors, purification of the blood, dilation of the vessels and pores. In asking what this all meant at the time, the author considers musical scores and their surrounding texts as (...)
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  44.  58
    The?Magic? Of Music: Archaic Dreams in Romantic Aesthetics and an Education in Aesthetics.Alexandra Kertz-Welzel - 2005 - Philosophy of Music Education Review 13 (1):77-94.
    In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or (...)
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  45. Spiritual Echoes Across Borders: The Religious and Philosophical Influence of Song Dynasty Music in Goryeo.Jianyun Wei - 2025 - European Journal for Philosophy of Religion 17 (2):348-364.
    The Song Dynasty represents a period of profound cultural and artistic flourishing in Chinese history, where court and folk music coexisted to create a richly diverse musical tradition. Beyond its artistic significance, Song music also carried deep spiritual, philosophical, and ritualistic meanings, reflecting Confucian ideals, Daoist cosmology, and Buddhist influences. By examining _Goryeo History – Music_, this study explores the overseas transmission and reception of Song Dynasty music in Goryeo, shedding light on the religious and philosophical dimensions (...)
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  46. Spiritual and Philosophical Dimensions of Tang Dynasty Music and Dance: Cultural Revitalization in the 'Belt and road' Era.Zhang Lan - 2025 - European Journal for Philosophy of Religion 17 (2):126-141.
    The Tang Dynasty (618–907) stands as a pinnacle of cultural, artistic, and spiritual flourishing, with its music and dance embodying profound metaphysical, religious, and philosophical dimensions. Beyond their aesthetic appeal, these art forms served as mediums for spiritual expression, ritualistic practice, and intercultural religious dialogue, particularly along the Silk Road. However, the challenge of revitalizing Tang Dynasty music and dance in contemporary times requires reconciling historical traditions with modern sensibilities, integrating religious and philosophical reflections, and leveraging innovative technologies (...)
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  47. Desiring the Hidden God: Knowledge Without Belief.Julian Perlmutter - 2016 - European Journal for Philosophy of Religion 8 (4):51--64.
    For many people, the phenomenon of divine hiddenness is so total that it is far from clear to them that God exists at all. Reasonably enough, they therefore do not believe that God exists. Yet it is possible, whilst lacking belief in God’s reality, nonetheless to see it as a possibility that is both realistic and attractive; and in this situation, one will likely want to be open to the considerable benefits that would be available if God were real. In (...)
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  48.  23
    Bauchman v. West High School Revisited: Religious Text and Context in Music Education.William Michael Perrine - 2017 - Philosophy of Music Education Review 25 (2):192.
    In 1997 the Tenth Circuit U.S. Court of Appeals ruled that school officials at West High School did not violate Rachel Bauchman's constitutional rights by including Christian religious music as part of its curriculum, or by staging school performances at religious sites. Three philosophical questions are investigated in this paper: whether the performance of religious text constitutes a religious practice, the ways in which instructional and performance context can affect the performance of sacred music, and how (...) teachers can avoid coercion when teaching religious music. Conclusions suggest that music educators must carefully consider the historical and cultural context of texts utilized in choral music. Certain contemporary devotional texts intended primarily for worship may prove problematic in a classroom setting. In addition, the instructional context in which religious music is presented can greatly impact how students understand the music's significance. Music educators should carefully articulate clear pedagogical reasons for staging performances in houses of worship to avoid the appearance of endorsement, and should refrain from asking students to participate in organized worship services. Finally, music educators should be sensitive to the problems religious texts present to individual students, taking responsibility for facilitating a classroom environment that respects a diversity of viewpoints. (shrink)
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  49.  19
    The Rehearsal and Performance of Holiday Music: Philosophical Issues in Stratechuk v. Board of Education.William M. Perrine - 2016 - Philosophy of Music Education Review 24 (2):131.
    This philosophical study addresses the implications of the legal case Stratechuk v. Board of Education, ruling that a policy prohibiting the performance of religious-themed holiday music did not violate the United States Constitution. Two questions are investigated: the differences between the classroom study and public performance of religious music, and the study of holiday music as a subgenre of religious music. Conclusions suggest that a school policy delineating between the rehearsal and performance of sacred (...) fails to appreciate the interrelationship of these musical practices. While this type of policy attempts to resolve controversy by moving sacred music out of public performance spaces it does not succeed in addressing the underlying philosophical tensions involved in the curricular use of sacred music. Further, a policy that allows the musical celebration of only secular aspects of particular holidays unnecessarily privileges secular over religious meanings and thus limits students’ contextual understanding of the holiday. The academic performance of sacred music within the comprehensive study of a given holiday should not constitute an endorsement of particular religious beliefs, or violate an appropriate position of religious neutrality. (shrink)
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  50.  23
    Religious Music and Free Speech: Philosophical Issues in Nurre v. Whitehead.William M. Perrine - 2013 - Philosophy of Music Education Review 21 (2):178.
    On September 9, 2009, the Ninth Circuit U.S. Court of Appeals ruled that officials from Everett School District #2 in Mill Creek, Washington did not violate student Kathryn Nurre’s constitutional rights to free speech by denying the Jackson High School Wind Ensemble the opportunity to perform an instrumental version of Franz Biebl’s Ave Maria at the district’s graduation ceremony. This philosophical study addresses implications of this legal case regarding religious music and free speech in public school music programs (...)
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