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Is All Music Religious?

Is All Music Religious? Philip V Bohlman At about the time that I began preparing this essay, Jaroslav Pelikan's book, The Melody of Theology (Harvard University Press, 1988L also appeared. In fact, I had chosen my title before I became aware of Pelikan's. I do not mean to imply, of course, that the topic of music and religion was mine before it was Pelikan's; surely he chose his title years ago, and it is well known that the relation between music and religion has served as a leitmotif in his research and writing for decades-for example, in his studies of the theological underpin­ nings in the music of Johann Sebastian Bach. Still, I found myself doubly intrigued when I first began to read The Melody of Theology, for I recognized yet another similarity between Pelikan's topic and my own in this essay-or, perhaps better stated, between our strate­ gies of presentation-namely that neither of us was primarily or sin­ gularly concerned with religion and music, though these were the two components coupled by our titles. Jaroslav Pelikan clarifies his topic in the book's subtitle, A Philo­ sophical Dictionary. His book, then, is really about the language a discipline uses to define its subject http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

Is All Music Religious?

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Copyright
Copyright © 1994 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-8.1.3
Publisher site
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Abstract

Philip V Bohlman At about the time that I began preparing this essay, Jaroslav Pelikan's book, The Melody of Theology (Harvard University Press, 1988L also appeared. In fact, I had chosen my title before I became aware of Pelikan's. I do not mean to imply, of course, that the topic of music and religion was mine before it was Pelikan's; surely he chose his title years ago, and it is well known that the relation between music and religion has served as a leitmotif in his research and writing for decades-for example, in his studies of the theological underpin­ nings in the music of Johann Sebastian Bach. Still, I found myself doubly intrigued when I first began to read The Melody of Theology, for I recognized yet another similarity between Pelikan's topic and my own in this essay-or, perhaps better stated, between our strate­ gies of presentation-namely that neither of us was primarily or sin­ gularly concerned with religion and music, though these were the two components coupled by our titles. Jaroslav Pelikan clarifies his topic in the book's subtitle, A Philo­ sophical Dictionary. His book, then, is really about the language a discipline uses to define its subject

Journal

Black Sacred Music – Duke University Press

Published: Mar 1, 1994

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