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I Philosophical Prolegomena to Theomusicological Thematizing of the Nonsacred

I Philosophical Prolegomena to Theomusicological Thematizing of the Nonsacred lnlrodudion I Philosophical Prole­ gomena lo Theomusi­ cological Themat&ing ol lhe Nonsacred Theomusicology-musicology as a theologically informed discipline-is a musicological method for theologizing about the sacred (the religious/ churched), the secular (the theistic unreligious ! unchurched), and the pro­ fane (the atheisticlirreligious)-including sacred and secular music as theomusicotherapy in church and community-principally incorporating methods borrowed from anthropology, sociology, psychology, and philoso­ phy. ffleomusicology and s«11l11r ffleology It is quite natural for theomusicology to examine sacred music inso­ far as it is clearly theological. However, it is not the sacred music of the Church that characterizes and thematizes life in the City (the secular realm), but rather the multifarious forms of American popu­ lar music. Thus it is just as crucial that theomusicology concern itself with the creators and consumers of popular music, in order to discern how this vast segment of American culture perceives the great mysteries that myths rejoin, and how these ultimate concerns figure into the world view which in tum formulates the character of the City. As Langdon Gilkey remarks, because the secular are not as unreligious and as unconstrained by the need for mythical language in their self-understanding as they may suppose, theological dis- Black http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

I Philosophical Prolegomena to Theomusicological Thematizing of the Nonsacred

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Copyright
Copyright © 1989 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-3.2.1
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Abstract

lnlrodudion I Philosophical Prole­ gomena lo Theomusi­ cological Themat&ing ol lhe Nonsacred Theomusicology-musicology as a theologically informed discipline-is a musicological method for theologizing about the sacred (the religious/ churched), the secular (the theistic unreligious ! unchurched), and the pro­ fane (the atheisticlirreligious)-including sacred and secular music as theomusicotherapy in church and community-principally incorporating methods borrowed from anthropology, sociology, psychology, and philoso­ phy. ffleomusicology and s«11l11r ffleology It is quite natural for theomusicology to examine sacred music inso­ far as it is clearly theological. However, it is not the sacred music of the Church that characterizes and thematizes life in the City (the secular realm), but rather the multifarious forms of American popu­ lar music. Thus it is just as crucial that theomusicology concern itself with the creators and consumers of popular music, in order to discern how this vast segment of American culture perceives the great mysteries that myths rejoin, and how these ultimate concerns figure into the world view which in tum formulates the character of the City. As Langdon Gilkey remarks, because the secular are not as unreligious and as unconstrained by the need for mythical language in their self-understanding as they may suppose, theological dis- Black

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Black Sacred Music – Duke University Press

Published: Sep 1, 1989

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