Sarah Moerman – författare

This book provides an account of the differing theologies and compositional approaches of three current composers—James MacMillan, Arvo Pärt, and John Adams. It contributes a comparative theological and musical analysis of their work through case studies of three of their major compositions.

The first part establishes the role of faith in James MacMillan’s musical inspiration, investigating how the suffering and death of Christ are direct and indirect themes in much of his work. It presents a close reading of St Luke Passion (2012), demonstrating how MacMillan uses music both as a theological practice of his faith and as a means to communicate theological meaning. The second part considers Arvo Pärt and how his Estonian religious and political formation influenced his compositional style. It presents a brief Orthodox theology of the icon and argues that Pärt—as a composer—acts as an Orthodox iconographer and that his Passio (1989) can be read and heard as an ‘aural icon’. The third part reframes the music of self-identified agnostic composer John Adams. It demonstrates how his music still provides theological insight, precipitating the possibility of God revealing something of himself to seekers, as well as compelling believers to interrogate their own theological assumptions. The author examines in detail The Gospel According to the Other Mary (2012), a contemporary reimagining of Christ’s Passion through the eyes of women and ethnic minorities.

The volume contributes comprehensive musical examples of how proposed methodological frameworks might be applied, arguing that different compositional styles and different faith backgrounds necessitate different musical and theological lenses. It will be of interest to scholars of both theology and music.

This book provides an account of the differing theologies and compositional approaches of three current composers—James MacMillan, Arvo Pärt, and John Adams. It contributes a comparative theological and musical analysis of their work through case studies of three of their major compositions.

The first part establishes the role of faith in James MacMillan’s musical inspiration, investigating how the suffering and death of Christ are direct and indirect themes in much of his work. It presents a close reading of St Luke Passion (2012), demonstrating how MacMillan uses music both as a theological practice of his faith and as a means to communicate theological meaning. The second part considers Arvo Pärt and how his Estonian religious and political formation influenced his compositional style. It presents a brief Orthodox theology of the icon and argues that Pärt—as a composer—acts as an Orthodox iconographer and that his Passio (1989) can be read and heard as an ‘aural icon’. The third part reframes the music of self-identified agnostic composer John Adams. It demonstrates how his music still provides theological insight, precipitating the possibility of God revealing something of himself to seekers, as well as compelling believers to interrogate their own theological assumptions. The author examines in detail The Gospel According to the Other Mary (2012), a contemporary reimagining of Christ’s Passion through the eyes of women and ethnic minorities.

The volume contributes comprehensive musical examples of how proposed methodological frameworks might be applied, arguing that different compositional styles and different faith backgrounds necessitate different musical and theological lenses. It will be of interest to scholars of both theology and music.