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Acknowledgements
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xi
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|
Notes on the Contributors
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xiii
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|
|
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Introduction
|
1
|
|
George Corbett
|
|
|
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|
Part I: Compositional and Theological Perspectives
|
7
|
|
|
|
1.
|
The Most Spiritual of the Arts: Music, Modernity, and the Search for the Sacred
|
9
|
|
James MacMillan
|
|
|
|
|
|
2.
|
The Surrogate Priest: Reflecting on Vocation with Welsh Composer Paul Mealor
|
17
|
|
Margaret McKerron with Paul Mealor
|
|
|
|
|
|
3.
|
Mary as a Model for Creative People: Establishing Theologian-Composer Partnerships with James MacMillan
|
31
|
|
George Corbett
|
|
|
|
|
|
4.
|
When Gods Talk to Men: Reading Mary with the Annunciations of the Hebrew Bible and the Ancient Near East
|
45
|
|
Madhavi Nevader
|
|
|
|
|
|
5.
|
Old Testament Typology: The Gospel Canticles in the Liturgy and Life of the Church
|
57
|
|
William P. Hyland
|
|
|
|
|
|
6.
|
Composing for a Non-Professional Chapel Choir: Challenges and Opportunities
|
69
|
|
Tom Wilkinson
|
|
|
|
|
|
Part II: ‘Annunciations’ in the Hebrew Bible
|
95
|
|
|
|
7.1.
|
‘Where are you?’: The Temptation of Adam and Eve (Genesis 3)
|
97
|
|
Margaret McKerron
|
|
|
7.2.
|
Composer’s Reflections
|
111
|
|
Anselm McDonnell
|
|
|
‘Hinneni’
|
115
|
|
|
|
|
8.1.
|
Jacob Wrestling (Genesis 32.22-32)
|
127
|
|
Marian Kelsey
|
|
|
8.2.
|
Composer’s Reflections
|
141
|
|
Dominic de Grande
|
|
|
‘Whilst falling asleep, Savta told me of Jacob’
|
145
|
|
|
|
|
9.1.
|
Setting Fire to Music: Theological and Aesthetic Approaches (Exodus 3)
|
161
|
|
Rebekah Dyer
|
|
|
9.2.
|
Composer’s Reflections
|
173
|
|
Kerensa Briggs
|
|
|
‘Exodus III’
|
177
|
|
|
|
|
10.1.
|
A Dark Dream: God’s Calling of Samuel and the Ministry of Eli (1 Samuel 3)
|
189
|
|
Caleb Froehlich
|
|
|
10.2.
|
Composer’s Reflections
|
201
|
|
Seán Doherty
|
|
|
‘God Calls Samuel’
|
207
|
|
|
|
|
11.1.
|
Elijah’s Silent Annunciation (1 Kings 19.8-15)
|
217
|
|
Mary Stevens
|
|
|
11.2.
|
Composer’s Reflections
|
229
|
|
Lisa Robertson
|
|
|
‘The Silent Word Sounds’
|
233
|
|
|
|
|
12.1.
|
Musical Arguments and Gender Performance (Song of Songs 3.6-11)
|
253
|
|
Kimberley Jane Anderson
|
|
|
12.2.
|
Composer’s Reflections
|
265
|
|
Stuart Beatch
|
|
|
‘The Annunciation of Solomon’
|
269
|
|
|
|
|
Part III: Programming and Performing Sacred Music
|
277
|
|
|
|
13.
|
Sacred Art Music in the Catholic Liturgy: Perspectives from the Roman Catholic Church in Scotland
|
279
|
|
Michael Ferguson
|
|
|
|
|
|
14.
|
Commissioning and Performing Sacred Music in the Anglican Church: A Perspective from Wells Cathedral
|
297
|
|
Matthew Owens
|
|
|
|
|
|
15.
|
Music at the Borders of the Sacred: Handel, Elgar and Poulenc
|
311
|
|
Michael Downes
|
|
|
|
|
|
16.
|
Sacred Music in Secular Spaces
|
325
|
|
Jonathan Arnold
|
|
|
|
|
|
17.
|
Music and Theology: Some Reflections on ‘the Listener’s Share’
|
337
|
|
Gavin Hopps
|
|
|
|
|
|
Index
|
353
|
|
Bibliography
|
363
|
