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Religions 2018, 9(1), 7; https://doi.org/10.3390/rel9010007

TheoArtistry, and a Contemporary Perspective on Composing Sacred Choral Music

School of Divinity, University of St Andrews, St Mary’s College, South Street, St Andrews, Scotland KY16 9JU, UK
Received: 13 November 2017 / Revised: 18 December 2017 / Accepted: 19 December 2017 / Published: 28 December 2017
(This article belongs to the Special Issue Music: Its Theologies and Spiritualities—A Global Perspective)
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Abstract

This article presents the methodology and research underpinning the TheoArtistry Composers’ Scheme, a project based in ITIA (the Institute for Theology, Imagination and the Arts), School of Divinity, University of St Andrews (2016–2017). I analyse Sir James MacMillan’s theology of music, outline some practical and theoretical issues that arose in setting up theologian-composer partnerships, and reflect critically on the six new works of sacred choral music that emerged (these are printed as supplementary materials). The article assesses the implications of such collaboration for future work at the interface between theology and music, and between theology and the arts more generally. View Full-Text
Keywords: sacred music; choral music; composition; theology; theoartistry; annunciation; Hebrew Bible; James MacMillan; Michael Symmons Roberts; Jeremy Begbie sacred music; choral music; composition; theology; theoartistry; annunciation; Hebrew Bible; James MacMillan; Michael Symmons Roberts; Jeremy Begbie
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).

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Corbett, G. TheoArtistry, and a Contemporary Perspective on Composing Sacred Choral Music. Religions 2018, 9, 7.

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