MPhil research by J. Andrew Edwards
Any consideration of the aural reception of Christian faith must take the ecclesial practice of m... more Any consideration of the aural reception of Christian faith must take the ecclesial practice of music and its relation to the divine logos into account. Specifically, the logos provides normativity for such music, as the latter endeavours to proclaim that divine Word. Contemporary theological reflections on music are made difficult by the modern development of the concept of taste, which has culminated in a radicalized subjectivity that eschews normative criteria. A reclamation of the normative role of the logos is thus required in the dogmatic theology of music. Karl Barth's theology is examined in order to establish the critical relation between proclamation and dogmatics. Barth's praise of Mozart is reviewed to demonstrate how his detachment from a broader historical tradition confines him to a strictly formalist aesthetic that is unable to hear musical meaning. Further examination of his early writings reveal how his critical revelatory dialectic, vis-à-vis his reading of the Auftrag, prohibits a proclamatory role for the ecclesial practice of music. Pope Benedict XVI's theology provides a fitting alternative, as his dogmatic reflections assume a necessarily kerygmatic role for music that Barth denies. In this Benedict is more in tune with the ancient Church Fathers. His dogmatic reflections on the "musified" logos are in dialectical tension with modern philosophies of music, as he espouses a Christian rationality over against modern secular/subjective reason. This dialectic is augmented with a comparison of Augustine and Kant on the practice of counting. Finally, contrary to some readings, the normativity of Benedict's musical logos is not an oppressive force, hampering the freedom of musical performance. A "descriptive" method of dogmatic reflection is finally recommended, in which the theology of music approximates a kind of journalistic "music criticism," albeit one that listens for the Word of Christ, the hearing of which brings faith (Romans 10:17). DECLARATIONS I, James Andrew Edwards, hereby certify that this thesis, which is approximately 41,950 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. Date____________ Signature of Candidate___________________________________ I was admitted as a research student in July 2004 and as a candidate for the degree of M.Phil. (retroactively applying a year of M.Litt. work in 2003-04 to the M.Phil.); the higher study for which this is a record was carried out in the University of St Andrews between 2003 and 2007. Date____________ Signature of Candidate___________________________________ I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of M.Phil. in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date____________ Signature of Supervisor __________________________________ In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker.
Book Reviews by J. Andrew Edwards
<i>The Cambridge Companion to John Wesley</i> (review)
Toronto Journal of Theology, 2011
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MPhil research by J. Andrew Edwards
Book Reviews by J. Andrew Edwards