While commentaries continue to be published on the book of Revelation, few, if any, attempt to interpret the Apocalypse in light of the political, historical, and cultural setting of John's original audience. The purpose of Seven Congregations in a Roman Crucible is to provide fresh and illuminating exegesis of Revelation that takes seriously ancient literary and archaeological evidences. This book seeks to bring the reader into the world of John's Apocalypse with pictures of numerous sites and artifacts from the first and early second centuries AD. Moreover, the book also attempts to interpret John and his message through the lens of the Jewish prophetic tradition of Isaiah, Jeremiah, Daniel, Ezekiel, and other pertinent Second Temple works. Thus John stands in the prophetic heritage of Israel in his attempt to challenge, threaten, admonish, and praise the seven churches of Roman Asia whose members are suffering at the hands of the idolatrous Graeco-Roman culture in which they reside.
My first encounter with the theory of harmony was during my last year at school (1975). This fascinating system of rules crystallized the intuitive knowledge of harmony I had acquired from years of piano playing, and facilitated memorization, transcription, arrangement and composition. For the next five years, I studied music (piano) and science (Physics) at the Univer sity of Melbourne. This "strange combination" started me wondering about the origins of those music theory "rules". To what extent were they determined or influenced by physics? mathematics? physiology? conditioning? In 1981, the supervisor of my honours project in musical acoustics, Neville Fletcher, showed me an article entitled "Pitch, consonance, and harmony", by a certain Ernst Terhardt of the Technical University of Munich. By that stage, I had devoured a considerable amount of (largely unsatisfactory) material on the nature and origins of harmony, which enabled me to recognize the significance of Terhardt's article. But it was not until I arrived in Munich the following year (on Terhardt's invitation) that I began to appreciate the conse quences of his "psychoacoustical" approach for the theory of harmony. That is what this book is about. The book presents Terhardt's work against the broad context of music perception research, past and present. Music perception is a multidisciplinary mixture of physics, psychology and music. Where different theoretical ap proaches appear contradictory, I try to show instead that they complement and enrich one another.
A fascinating interdisciplinary approach to how everyday Western music works, and why the tones, melodies, and chords combine as they do. Despite the cultural diversity of our globalized world, most Western music is still structured around major and minor scales and chords. Countless thinkers and scientists of the past have struggled to explain the nature and origin of musical structures. In Psychoacoustic Foundations of Major-Minor Tonality, music psychologist Richard Parncutt offers a fresh take, combining music theory—Rameau’s fundamental bass, Riemann’s harmonic function, Schenker’s hierarchic analysis, Forte’s pitch-class set theory—with psychology—Bregman’s auditory scene, Terhardt’s virtual pitch, Krumhansl’s tonal hierarchy. Drawing on statistical analyses of notated music corpora, Parncutt charts a middle path between cultural relativism and scientific positivism to bring music theory into meaningful discourse with empirical research. Our musical subjectivity, Parncutt explains, depends on our past musical experience and hence on music history and its social contexts. It also depends on physical sound properties, as investigated in psychoacoustics with auditory experiments and mathematical models. Parncutt’s evidence-based theory of major-minor tonality draws on his interdisciplinary background to present a theory that is comprehensive, creative, and critical. Examining concepts of interval, consonance, chord root, leading tone, harmonic progression, and modulation, he asks: Why are some scale tones and chord progressions more common than others? What aspects of major-minor tonality are based on human biology or general perceptual principles? What aspects are culturally arbitrary? And what about colonial history? Original and provocative, Psychoacoustic Foundations of Major-Minor Tonality promises to become a foundational text in both music theory and music cognition.
This College Press commentary on 1 Corinthians has been designed for the serious student as well as the growing Christian, providing sound exegisis, clear exposition, an objective approach, and commentary keyed to the New International Version.
This important book explores strategies to enable clergy and lay persons to identify and help individuals suffering from depression. It contains many techniques that can be used in managing depression, including coping devices, treatments, and interventions which actually help depressed persons to improve their mental health. Dealing With Depression describes types of depression and related symptoms to help clergy develop a more complete understanding of the disorder. They will learn to recognize the symptoms of depression and be better able to help individuals who suffer from it. This useful guide includes a step-by-step approach to depression intervention and proven techniques readers can use to enable people to cope more successfully with depression. This important book has also been translated into a Chinese version. Dealing With Depression brings together expert psychologists who explore five modalities for conceptualizing and managing depression, which deflates for clergy the often intimidating quality of the disorder. These experts discuss in practical and understandable ways the helping techniques they use and explain their understanding of depression and their methods of treatment. A medical-religious case conference with these experts shows how clergy and laity can help ease depression and an extensive bibliography is included to facilitate further reference. Dealing With Depression puts this common disorder back into the human life situation where it can be seen as just another temporary disturbance to which human beings are vulnerable, but which need not significantly distort their lives, relationships, spiritual development, or prosperity of body, mind, and soul.
The early church was made up of a myriad of local churches, each with different settings, problems and ideas regarding how its community should be structured. What Are They Saying About the Formation of Pauline Churches? surveys the different models available in the Greco-Roman period for understanding how Paul's Christian groups ordered their communities. There are four models: the synagogue, the philosophical school, the ancient mystery cult and the voluntary association. Dr. Ascough devotes a chapter to each model and to the authors who use it to understand Pauline churches. The archaeological and literary data are coordinated with data from the Pauline letters to reveal the strengths and weaknesses of the models for understanding these churches. In the end, all four models are helpful and no one model is adequate to explain all the aspects of each Pauline church. This is a superb book for those seeking an overall view of the debate on the culture and organization of the first Christian communities. +
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