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Journal Article
Black Sacred Music (1994) 8 (1): 78–91.
Published: 01 March 1994
... that is transported within religious and musical experience. Demythologizing also means deliverance from the harmful parts of an experience. However, terms are basic elements of communication. So, in order to make communication feasible, a certain rationalization of the experience is necessary. This makes sense...
Journal Article
Black Sacred Music (1994) 8 (1): 13–35.
Published: 01 March 1994
... or usage, in order to determine how music expresses and mediates the dominant values of a culture and how music is an experience of encounter with whatever is taken to be divine or of ultimate importance. In this essay I will argue that music has theological significance in three ways: (1) in expressing...
Journal Article
Black Sacred Music (1989) 3 (2): 1–16.
Published: 01 September 1989
... of God (New York: Harper &. Row, 1966), 24. 4. Ibid., 14-15. that interpolates religious meaning into the manifestation of physiological remnants and psychological remembrances of religiosity in the profane's experiences of creating and listening to music. This is possible to the extent...
Journal Article
Black Sacred Music (1994) 8 (2): 120–123.
Published: 01 September 1994
.... This music should be promoted, learned, studied, [and] probed . All should invest in the enrichment of these compositions through performance and listening experiences!' The appendixes provide yet another highlight of this book. In addition to definitions of musical terms and other select words, the author...
Journal Article
Black Sacred Music (1990) 4 (2): 76–78.
Published: 01 September 1990
... (the self-disclosure of God) in science fiction novels, romance, television, and film, Greeley's discerning eye also perceives secular experiences of grace in popular music. This sacrament of grace, composed of hope-renewing experiences that are recorded in the imagination and activated by the religious...
Journal Article
Black Sacred Music (1992) 6 (1): 68–97.
Published: 01 March 1992
... perspective as the solution to the problem of black suffering. Instead, they sang, "Got the blues, and too dam' mean to cry." The blues depict the "secular" dimension of black experience. They are "worldly" songs which tell us about love and sex, and about that other "mule kickin' in my stall." They tell us...
Journal Article
Black Sacred Music (1987) 1 (2): 17–20.
Published: 01 September 1987
... experience situations to which the only appropriate response seems to be a song. This is particularly true when the song grows out of the depth of human experiences. It can be veritably stated that much of the richness of the black hymnic tradition lies in the fact that songs are often composed in response...
Journal Article
Black Sacred Music (1992) 6 (2): 252–256.
Published: 01 September 1992
..., after having given some thought to the matter, I hesitate to term the thoughts I'm about to express "theories." I'd rather call them experiences and resultant conclusions. The major problem confronting one who sets out to score for an orchestra is that of presenting the music most effectively...
Journal Article
Black Sacred Music (1994) 8 (1): 92–106.
Published: 01 March 1994
... experience and act upon music, and the studies became especially important for reassessing popular music. To the present day, researchers prefer to examine the consumption of rock and pop music by young people rather than to examine other fields of popular music. Meanwhile, the Adorno wounds seem...
Journal Article
Black Sacred Music (1990) 4 (2): 78–80.
Published: 01 September 1990
.... "No matter how hard the creator and consumer of culture may try," says Greeley, "s/he cannot exclude religious experiences from other experiences of life" (27). Greeley, Andrew M. Religious Change in America. Cambridge, Mass.: Harvard University Press, 1989. American religion has doubtless changed...
Journal Article
Black Sacred Music (1994) 8 (2): 43–63.
Published: 01 September 1994
..., it is important to note that calling up this past was not simply a remembrance of facts surrounding a particular event in history; it was a calling up of the interiors of ancestral lives enabling both storyteller and listener to remember and experience those lives intimately. Calling up these lives intimately...
Journal Article
Black Sacred Music (1992) 6 (1): 162–169.
Published: 01 March 1992
... be sensitive to the whole range of existence. Far from offering us rosecolored glasses . . . it realistically speaks of sorrow and pain . . . it helps us relate and interpret the variety of experiences we have had jazz stimulates us to feel deeply and truthfully jazz thunders a mighty "yes" it offers us...
Journal Article
Black Sacred Music (1989) 3 (1): 6–13.
Published: 01 March 1989
... out that iconic expression is based on this incamational movement of the Son and is continued by the Spirit: As the true and perfect icon of the Father, Jesus communicates himself to human persons by the "illumination· of the Holy Spirit, within the living sacramental and spiritual experience...
Journal Article
Black Sacred Music (1991) 5 (1): 51–59.
Published: 01 March 1991
... of the historical experience of blacks in American society and therefore can be read as history. More recently, a new black musical form called "rap" or "hip-hop" has evolved from the contemporary urban descendants of southern blacks of the Great Migration. Like its black musical precursors, rap also describes...
Journal Article
Black Sacred Music (1992) 6 (1): 232–243.
Published: 01 March 1992
..., these phenomena might be conceived as the secondary causes through which, in Catholic theology, God normally works.) In the second essay, "Empirical Liturgy: The Search for Grace" (America, u/21/87), I suggested that the Sacraments correlate the experience of self-communication of God in secular life...
Journal Article
Black Sacred Music (1994) 8 (1): 218–238.
Published: 01 March 1994
... meanings, symbols, and ways of being in the world. Through participation in the music department of the local church, much of the theological tradition of the black religious experience is handed down to young people. The church's longstanding suspicion of secular music reflects its sense of competing...
Journal Article
Black Sacred Music (1989) 3 (1): 1–5.
Published: 01 March 1989
...Jeremiah A. Wright, Jr. © Copyright 1989 JBSM /Jon Michael Spencer 1989 Music as Cultural Expression in Black Church Theology and Worship Jeremiah A. Wright, Jr. In 1898 W E. B. DuBois stated that the three key elements of the black church worship experience were the preacher, the music...
Journal Article
Black Sacred Music (1991) 5 (1): 60–67.
Published: 01 March 1991
... of object, time, and place in order to experience an awareness of oneness with the energy of existence, to be in psychic union with the cosmos. By spiritual I also mean opening and shutting the doors that seem to limit consciousness of existence. Access to the spiritual world involves knowing how...
Journal Article
Black Sacred Music (1992) 6 (2): v–vii.
Published: 01 September 1992
...-fifth birthday sponsored by Oberlin Conservatory of Music, which I helped organize when I was a professor there. What is most memorable about the experience was Still's personal grace, charm, dignity, and profound sense of artistic and individual integrity. This warm and honorable person clearly...
Journal Article
Black Sacred Music (1989) 3 (2): v.
Published: 01 September 1989
... of Sacramental Experience in the liturgy is the 'correlation' of the experience of the self-communication of God in secular life with the overarching experience of the religious tradition so that each correlate may illuminate the other."15 This bonding will only occur as theomusicology first discloses...