Stephanie Rocke

The Politicized Concert Mass (1967-2007) (eBook, PDF)

From Secularism to Pluralism

• Format: PDF

Produktbeschreibung

Since the transformative 1960s, concert masses have incorporated a range of political and religious views that mirror their socio-cultural context.

---

Dieser Download kann aus rechtlichen Gründen nur mit Rechnungsadresse in A, B, BG, CY, CZ, D, DK, EW, E, FIN, F, GR, HR, H, IRL, I, LT, L, LR, M, NL, PL, P, R, S, SLO, SK ausgeliefert werden.

Produktdetails

• Verlag: Taylor & Francis
• Seitenzahl: 254
• Erscheinungstermin: 29. Juli 2022
• Englisch
• ISBN-13: 9781000620542
• Artikelnr.: 64184785

Autorenporträt

Stephanie Rocke is a Research Fellow at the University of Melbourne with an ongoing interest in religious and cultural diversity as it is manifested in musical forms and musical activities across time. Recent publications reflect an expansion into the fields of music and emotion, the history of emotion, Australian music and creativity for wellbeing. The Origins and Ascendancy of the Concert Mass was published by Routledge in 2020.

Inhaltsangabe

Introduction
The concert mass
Concert mass background
Conceptual framework and theoretical approaches
Secularization
Issues of transcendence
Religious universalism and pluralism
Relativism
Cosmopolitan pluralists
Book structure and chapter outlines
Part I: Challenging boundaries in the long 1960s
Introduction
Civil protest
Roman Catholic Activism
Part I Case Studies - Introducing the masses of Axelrod, Davies and
Bernstein
Chapter 1: David Axelrod and the Electric Prunes' psychedelic Mass in F
Minor (1967)
Cultural context - the popular music industry
Mass in F Minor (1967) - The Electric Prunes & David Axelrod (1931-2017)
David Axelrod - a creative autodidact
Placing Mass in F Minor within the continuum of other masses
An absence of religion (secularization)
Psychedelic Elements of Mass in F Minor
Text
Reception
Psychedelia and the counter culture
Commodification - Mass in F minor as a product
Mass in F minor legacy
Chapter 2: Challenging Christianity: Provocative models in Peter Maxwell
Davies's and Leonard Bernstein's theatrical concert masses Missa super
l'homme armé (1971) and Mass (1971)
Cultural context - a thirst for change
Secularization in different spheres
Missa super l'homme armé (1969 rev. 1971) - Peter Maxwell Davies
Absurdity
Sacrifice, betrayal and Christianity
Mass (1971) - Leonard Bernstein
Faith
Social consciousness
Detractors
Part II: Expanding the concert mass into new territories
Introduction
Subversive protests
Part II case studies - Chihara and Fanshawe: similarities and differences
Chapter 3: Christianity as everyday practice: Paul Chihara's Missa
Carminum: Folk Song Mass (1975)
Background and genesis
Missa Carminum: Folk Song Mass (1975)
Text juxtapositions
Melodic juxtapositions
Gloria
Eros in the music of Missa Carminum
Chapter 4: David Fanshawe's African Sanctus: A Mass for Love and Peace
(1973)
Cultural and religious merging
Neo-colonial cosmopolitan patriot
Cultural and religious hybridity
Christian and Muslim perspectives
Transcultural flows
Conclusion to Part II
Part III: God meets Gaia: Concert masses for the environment
Introduction
Environmental Movement
New Spiritual Pathways
Christianity and Environmentalism
Lindisfarne Association
Part III case studies - towards natural religion: environmental concert
masses of Winter, Patterson, Lentz and Larsen
Chapter 5: Paul Winter's Missa Gaia / Earth Mass (1981) and Paul
Patterson's Mass of the Sea (1983)
Introduction
Paul Winter's Missa Gaia / Earth Mass (1981)
"Earth Fair"
A concert mass
Gaia & God?
Paul Patterson's Mass of the Sea
Chapter 6: David Lentz and Jessica Karraker's wolfMASS (1987) and Libby
Larsen's Missa Gaia: Mass for the Earth (1992)
Introduction
wolfMASS (1987) - Daniel Lentz and Jessica Karraker
Music
Libretto
Missa Gaia: Mass for the Earth (1992) - Libby Larsen
Music for mother Earth
Libretto - replacement texts and musical choices
Credo: Speak to the Earth and It Shall Teach Thee
God?
Conclusion to Part III - Christianity as religious symbol
Part IV: Reflecting Religious Diversity
Introduction
Historical antecedents
Concert Masses
Religious plurality
Theoretical concepts
Tolerance
Moral education
David Fanshawe - African Sanctus: A Mass For Love And Peace (1973)
(Reprise)
Exclusivism, inclusivism
Relativism
Concert Mass responses to plurality - universalism and pluralism
Chapter 7: Universalistic approaches: Roger Davidson's Missa Universalis I,
II and III (1987-1992) and Luis Bacalov's Misa Tango (1997)
Introduction
Universalism
Roger Davidson: Missa Universalis I, II and III (1987-1992)
Nuancing Universalism
Luis Bacalov's Misa Tango (1997)
Tango and Religion
Lamb of God
Chapter 8: Towards Pluralism: Carman Moore's Mass for the 21st Century
(1994-1995)
Introduction
Abandoning universalism
Inclusive pluralism
Carman Moore's Mass for the 21st Century (1994-1995)
Universalism and pluralism
Chapter 9: Pluralism in two twenty-first-century concert masses: Karl
Jenkins's The Armed Man: A Mass for Peace (2000) and And on Earth Peace: A
Chanticleer Mass (2007)
Introduction
The Armed Man: A Mass for Peace (2000)
Moving emotions through music
Choral and commercial success
Pluralistic aspects
And on Earth, Peace: A Chanticleer Mass (2007)
Pluralism and universlism
Spirituality
Conclusion to Part IV
Conclusion: From secularism to pluralism in forty years of politicized
concert masses
Index
Concert Mass Index

---

Introduction

The concert mass

Concert mass background

Conceptual framework and theoretical approaches

Secularization

Issues of transcendence

Religious universalism and pluralism

Relativism

Cosmopolitan pluralists

Book structure and chapter outlines

Part I: Challenging boundaries in the long 1960s

Introduction

Civil protest

Roman Catholic Activism

Part I Case Studies - Introducing the masses of Axelrod, Davies and Bernstein

Chapter 1: David Axelrod and the Electric Prunes' psychedelic Mass in F Minor (1967)

Cultural context - the popular music industry



Mass in F Minor (1967) - The Electric Prunes & David Axelrod (1931-2017)

David Axelrod - a creative autodidact

Placing Mass in F Minor within the continuum of other masses

An absence of religion (secularization)

Psychedelic Elements of Mass in F Minor

Text

Reception

Psychedelia and the counter culture

Commodification - Mass in F minor as a product



Mass in F minor legacy

Chapter 2: Challenging Christianity: Provocative models in Peter Maxwell Davies's and Leonard Bernstein's theatrical concert masses Missa super l'homme armé (1971) and Mass (1971)

Cultural context - a thirst for change

Secularization in different spheres



Missa super l'homme armé (1969 rev. 1971) - Peter Maxwell Davies

Absurdity

Sacrifice, betrayal and Christianity



Mass (1971) - Leonard Bernstein

Faith

Social consciousness

Detractors

Part II: Expanding the concert mass into new territories

Introduction

Subversive protests

Part II case studies - Chihara and Fanshawe: similarities and differences

Chapter 3: Christianity as everyday practice: Paul Chihara's Missa Carminum: Folk Song Mass (1975)

Background and genesis



Missa Carminum: Folk Song Mass (1975)

Text juxtapositions

Melodic juxtapositions

Gloria

Eros in the music of Missa Carminum

Chapter 4: David Fanshawe's African Sanctus: A Mass for Love and Peace (1973)

Cultural and religious merging

Neo-colonial cosmopolitan patriot

Cultural and religious hybridity

Christian and Muslim perspectives

Transcultural flows

Conclusion to Part II

Part III: God meets Gaia: Concert masses for the environment

Introduction

Environmental Movement

New Spiritual Pathways

Christianity and Environmentalism

Lindisfarne Association

Part III case studies - towards natural religion: environmental concert masses of Winter, Patterson, Lentz and Larsen

Chapter 5: Paul Winter's Missa Gaia / Earth Mass (1981) and Paul Patterson's Mass of the Sea (1983)

Introduction

Paul Winter's Missa Gaia / Earth Mass (1981)

"Earth Fair"

A concert mass

Gaia & God?

Paul Patterson's Mass of the Sea

Chapter 6: David Lentz and Jessica Karraker's wolfMASS (1987) and Libby Larsen's Missa Gaia: Mass for the Earth (1992)

Introduction



wolfMASS (1987) - Daniel Lentz and Jessica Karraker

Music

Libretto



Missa Gaia: Mass for the Earth (1992) - Libby Larsen

Music for mother Earth

Libretto - replacement texts and musical choices

Credo: Speak to the Earth and It Shall Teach Thee

God?

Conclusion to Part III - Christianity as religious symbol

Part IV: Reflecting Religious Diversity

Introduction

Historical antecedents

Concert Masses

Religious plurality

Theoretical concepts

Tolerance

Moral education

David Fanshawe - African Sanctus: A Mass For Love And Peace (1973) (Reprise)

Exclusivism, inclusivism

Relativism

Concert Mass responses to plurality - universalism and pluralism

Chapter 7: Universalistic approaches: Roger Davidson's Missa Universalis I, II and III (1987-1992) and Luis Bacalov's Misa Tango (1997)

Introduction

Universalism

Roger Davidson: Missa Universalis I, II and III (1987-1992)

Nuancing Universalism

Luis Bacalov's Misa Tango (1997)

Tango and Religion

Lamb of God

Chapter 8: Towards Pluralism: Carman Moore's Mass for the 21st Century (1994-1995)

Introduction

Abandoning universalism

Inclusive pluralism

Carman Moore's Mass for the 21st Century (1994-1995)

Universalism and pluralism

Chapter 9: Pluralism in two twenty-first-century concert masses: Karl Jenkins's The Armed Man: A Mass for Peace (2000) and And on Earth Peace: A Chanticleer Mass (2007)



Introduction



The Armed Man: A Mass for Peace (2000)

Moving emotions through music

Choral and commercial success

Pluralistic aspects



And on Earth, Peace: A Chanticleer Mass (2007)

Pluralism and universlism

Spirituality

Conclusion to Part IV

Conclusion: From secularism to pluralism in forty years of politicized concert masses

Index

Concert Mass Index