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Journal Article
Black Sacred Music (1992) 6 (2): 81–85.
Published: 01 September 1992
... by the person who sought to prove it an objective process. It must, of course, be admitted that there are composers whose works are products of the objective, or conscious mind. These are they whose creative efforts are governed by mathematical formulae; or those who impose upon themselves the limitations...
Journal Article
Black Sacred Music (1994) 8 (2): 72–74.
Published: 01 September 1994
... of native African art ever gathered together. There are 603 objects in all from public and private museums in England, Germany, Belgium, France and the United States. Heathen Idols How old these objects are no one knows. But up to 1900 they were generally regarded as the artistic fumblings of a childish...
Journal Article
Black Sacred Music (1990) 4 (2): 109–112.
Published: 01 September 1990
... and the objects of northern white curiosity. Local Color's own impact upon the world antebellum whites made, and its symbiotic relationship with musical minstrelsy-both of which impinged upon black (religious) reality-is of importance to theomusicology in its quest to comprehend ultimate reality through its study...
Journal Article
Black Sacred Music (1990) 4 (2): 93–94.
Published: 01 September 1990
..., for whom pluralism is "a code word for a conspiracy" that undercuts their dominance in society (5). Civil religion is an overzealous nationalism or patriotism where the nation itself-with its myriad symbols, rites, and rituals-becomes the object of pseudo-religious or semi-religious faith and allegiance...
Journal Article
Black Sacred Music (1994) 8 (1): 92–106.
Published: 01 March 1994
... to engage in interdisciplinary dialogue, especially with cultural and communication sciences. However, there can be no objectivity as in the natural sciences. The bottom line of ethical considerations cannot and must not be a definitive verdict on the value of popular culture for all people of all times...
Journal Article
Black Sacred Music (1990) 4 (2): 47–50.
Published: 01 September 1990
... only a part of reality. "It is about taking the globe and turning it over so that we see all the possibilities of a world where Africa, for example, is subject and not object" (3). A particularly notorious way in which Africa is made object rather than subject, says Asante, is in the use of the term...
Journal Article
Black Sacred Music (1994) 8 (1): 157–177.
Published: 01 March 1994
... clearly be misleading to render, say, geistiges Horen as "intellectual hearing!' Hauer's 1919 discovery of the twelve-tone idea came at a moment when he was desperately searching for some underlying objective principle in his atonal music. Hauer was searching for evidence of such a principle at work...
Journal Article
Black Sacred Music (1993) 7 (1): 33–35.
Published: 01 March 1993
... 19, 1934, p. ro. 34 Black Sacred Music is. The American and West Indian Negro worships the Christian God in his own particular way and makes him the object of his supreme artistic manifestation which is embodied in the Negro spiritual. But, what of the African Negro? What is the object of his strong...
Journal Article
Black Sacred Music (1994) 8 (1): 78–91.
Published: 01 March 1994
...." In order to unfold this concept, we have to consider Tillich's two formal criteria of theology. He says, first, that "the object of theology is what concerns us ultimately. Only those propositions are theological which deal with their object in so far as it can become a matter of ultimate concern for us...
Journal Article
Black Sacred Music (1990) 4 (2): 94–96.
Published: 01 September 1990
... to live on" (41). The other unifying medium in "postbiblical" pluralist America is not its scripturality but the iconography of the biblical book itself. The Bible, figures Marty, is "America's iconic book" (156 ). Revered as an object by the churched and the unchurched alike, the Bible is a customary...
Journal Article
Black Sacred Music (1992) 6 (1): 177–200.
Published: 01 March 1992
... that the majority of books on jazz have failed to represent adequately their object of study; he characterizes the "body of writing" which accumulated around the signifier jazz as "little more than an amalgam of well-meaning amateur criticism and fascinated opinion."5 He then notes a curious phenomenon...
Journal Article
Black Sacred Music (1988) 2 (1): 21–34.
Published: 01 March 1988
...: language, art, society, religion, government, and so forth. It is therefore only a short step to the realization that the very force of life that pulsates through individuals and communities is given objective tangible expression in rhythmic 'R. R. Marrett, Handbook on Religion (London: Metheun and Co...
Journal Article
Black Sacred Music (1990) 4 (2): 40–46.
Published: 01 September 1990
... on spirituals, one called "The Communion Office," published in 1925 by the Rev. A. Myron Cochran; the other, composed especially for our mission by Mr. Harold Frederic, formerly of Cincinnati, and Fr. Wilson . Both settings are very popular with the people. There are, of course, objections which might be made...
Journal Article
Black Sacred Music (1990) 4 (2): 80–83.
Published: 01 September 1990
... those who view words as sacred objects versus those who perceive words as bearers of meaning: for the setter of words the Word is with God, while for the setter of meaning the Word is God (r o, r I). In this respect, there is greater religious and musical fervor in the music of the composer who sets...
Journal Article
Black Sacred Music (1990) 4 (2): 112–116.
Published: 01 September 1990
... to explain and shape America by making it the object of their brand of youthful yet intellectual discourse. Williams, Kenny J. A Storyteller and a City: Sherwood Anderson's Chicago. DeKalb: Northern Illinois University Press, 1988 . Sherwood Anderson was born in Camden, Ohio, in 1876, and migrated to Chicago...
Journal Article
Black Sacred Music (1993) 7 (1): 29.
Published: 01 March 1993
... and invalidates a thing that is true to our heritage and authentic of our Race. I have written more than three hundred gospel songs and spirituals. I do not object to them being used on the air, but they must not be desecrated or used for dance purposes. There is plenty of music in the world. If not plenty music...
Journal Article
Black Sacred Music (1992) 6 (1): 206–217.
Published: 01 March 1992
... by consternation and surprise when we wrote excellent papers or understood how to work complex mathematical problems. Daily explanations were requested for manners, preferences, and values that were so much a part of us that we never noticed them. We were the objects of observation and suspicion. Thus, for those...
Journal Article
Black Sacred Music (1995) 9 (1-2): 175–181.
Published: 01 September 1995
... is not included in the shape-note books relegates the singer to inferior practices. If legitimate notes were taught, then the horizon would be enlarged a hundredfold. The Influence of "Shape-Note" Singing 177 less objection to the practice of shape-note singing were it not squeezing all of the creative interest...
Journal Article
Black Sacred Music (1989) 3 (2): 1–16.
Published: 01 September 1989
... of the City can be denoted ''semi-religious experiences" or idolatry, insofar as the object of devotion is finite rather than infinite. That an experience of this dimension might be idolatrous, says Ogden, does not preclude its religious authenticity: It is easy to suppose that idolatry means the diversion...
Journal Article
Black Sacred Music (1992) 6 (1): 55–67.
Published: 01 March 1992
... by thinking of them as less than human, as animals without souls to save. Thus owners of slaves did not dare to offend their God by permitting slaves to worship Him. But zealous missionaries succeeded finally in converting some of the house slaves, reasoning against objections that, if brought into the flock...