Present-day track reports conspicuously sidestep the query of faith in modern tune. even supposing many composers tackle the difficulty of their paintings, as but there were few makes an attempt to imagine throughout the constitution of spiritual tune as we listen it.
On the foundation of a cautious research of Olivier Messiaen's paintings, this ebook argues for a renewal of our considering spiritual track. Addressing his inspiration of a "hyper-religious" track of sounds and colours, it goals to teach that Messiaen has damaged new floor. His reinvention of spiritual tune makes us back conscious of the truth that non secular tune, if taken in its right radical feel, belongs to the key of musical adventures.
The paintings of Olivier Messiaen is celebrated for its inclusion of spiritual topics and gestures. those on my own, besides the fact that, don't look adequate to account for the non secular prestige of the paintings. Arguing for a "breakthrough towards the past" at the foundation of the synaesthetic event of song, Messiaen invitations a disagreement with modern theologians and post-secular thinkers. tips to account for a non secular leap forward that's produced through a piece of art?
Starting from an research of his Sixties oratorio l. a. Transfiguration de Notre-Seigneur Jésus-Christ, this e-book arranges a moderated discussion among Messiaen and the track theology of Hans Urs von Balthasar, the phenomenology of revelation of Jean-Luc Marion, the rethinking of faith and technics in Jacques Derrida and Bernard Stiegler, and the Augustinian ruminations of Søren Kierkegaard and Jean-François Lyotard. finally, this disagreement underscores the not easy but deeply affirmative nature of Messiaen's music.
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Additional info for The Reinvention of Religious Music: Olivier Messiaen's Breakthrough Toward the Beyond
There's not anything summary or metaphysical approximately Abraham improving his one and in basic terms son, this son, Isaac. one hundred twenty Repetition then is, based on Kierkegaard, the paradoxical go back of the actual-with-a-difference, and it's the absolute prerequisite for any ethics, metaphysics, or dogmatics. 121 The signiﬁcance for track of such an aporetic idea of repetition used to be mentioned ahead of, yet now a brand new and exact size is further on. Repetition within the feel of Kierkegaard can't be construed, in response to Edward Mooney, yet is a present acquired in grace. 122 it's the preeminent ﬁgure of openness or receptivity for the staggering, the absurd, or the paradoxical (as emblematically within the trope of Incarnation). 123 It consists of a readiness to just accept the truth that whatever is feasible with God, even the very unlikely repetition of the singular. 124 Messiaen’s gesture of repeating the original occasion of ‘‘breakthrough towards the beyond’’ involves the plural inscription of this singularity into the area of repetition and partakes of the logics of this most unlikely danger. The leap forward breaks via in (and as) repetition, even though the locus in time and position of being touched or struck can't instantly or with any simple task be indicated. to curve one among Messiaen’s similes: hearing this sort of song is like looking at, on the lakeside, at ripples whose reason (a pebble) was once unseen. one hundred twenty five there's no originary second to what's reiterated, simply the undulation of (its) assorted repetitions. this isn't approximately reiterating an identical, repeating the unique, yet approximately in all likelihood getting ready for the Open (trois fois rien), for repetition in Kierkegaard’s transﬁgurative experience, for Messiaen’s leap forward. pondering such new release shall regularly, despite the fact that, entail the potential of an antichristian idolizing of tune, as Hent de Vries has argued. Repetition, notion during this means, paves the way in which for the non secular danger of Messiaen’s track yet within the comparable move creates its parody besides, making it without the experience (Sinn) Balthasar insists on. concerning Kierkegaard’s love of the farce, Samuel Weber places it as follows: The Technics of step forward 157 Repetition is a of that means. There might be no which means whether it is no longer repeatable in a few feel. yet this itself doesn’t simply produce which means, it produces the double of that means, the shadow of that means, the theatrical farce, the unserious sequence. Farce is not only anything you could take or go away. if you would like that means you are going to, in a single manner or the opposite, even have farce, anything you'll now not are looking to admit. 126 within the theological reception and interpretation of Messiaen’s paintings, this comedy of repetition—this farce of duplication and duplicity, this doubling the purpose that unavoidably includes alteration—is missed, to the impact that the non secular (and, as we've seen, musical) area his paintings opens onto is barred. while duplication is permitted, besides the fact that, the Augustinian aporia of experiencing track returns with complete strength: it truly is harmful, yet, conversely (that is, returning whilst, within the similar circulate, in repetition), additionally necessary.