The politicized concert mass (1967-2007) : from secularism to pluralism /

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Includes bibliographical references and index.<P>List of figures</P><P>List of tables</P><P>Introduction</P><P>The concert mass</P><P>Concert mass background</P><P>Conceptual framework and theoretical approaches</P><P>Secularization</P><P>Issues of transcendence</P><P>Religious universalism and pluralism</P><P>Relativism</P><P>Cosmopolitan pluralists</P><P>Book structure and chapter outlines</P><P></P><P><STRONG>Part I: Challenging boundaries in the long 1960s</STRONG></P><P>Introduction </P><P>Civil protest</P><P>Roman Catholic Activism</P><P>Part I Case Studies -- Introducing the masses of Axelrod, Davies and Bernstein</P><P></P><P>Chapter 1: <B>David Axelrod and the Electric Prunes' psychedelic <I>Mass in F Minor </I>(1967)</P><P></B>Cultural context -- the popular music industry</P><I><P>Mass in F Minor</I> (1967) -- The Electric Prunes & David Axelrod (1931-2017)</P><P>David Axelrod -- a creative autodidact</P><P>Placing <I>Mass in F Minor</I> within the continuum of other masses</P><P>An absence of religion (secularization)</P><P>Psychedelic Elements of <I>Mass in F Minor</P></I><P>Text</P><P>Reception</P><P>Psychedelia and the counter culture</P><P>Commodification -- <I>Mass in F minor</I> as a product</P><I><P>Mass in F minor</I> legacy</P><P></P><P>Chapter 2: Challenging Christianity: Provocative models in Peter Maxwell Davies's and Leonard Bernstein's theatrical concert masses <I>Missa super l'homme armé</I> (1971) and <I>Mass</I> (1971)</P><P>Cultural context -- a thirst for change</P><P>Secularization in different spheres</P><I><P>Missa super l'homme armé</I> (1969 rev. 1971) -- Peter Maxwell Davies</P><P>Absurdity</P><P>Sacrifice, betrayal and Christianity</P><I><P>Mass</I> (1971) -- Leonard Bernstein</P><P>Faith</P><P>Social consciousness</P><P>Detractors</P><P></P><P>Part II: Expanding the concert mass into new territories</P><P>Introduction</P><P>Subversive protests</P><P>Part II case studies -- Chihara and Fanshawe: similarities and differences</P><P>Chapter 3: Christianity as everyday practice: Paul Chihara's <I>Missa Carminum: Folk Song Mass</I> (1975)</P><P>Background and genesis</P><I><P>Missa Carminum: Folk Song Mass</I> (1975)</P><P>Text juxtapositions</P><P>Melodic juxtapositions</P><P>Gloria</P><P>Eros in the music of <I>Missa Carminum</I></P><P></P><P>Chapter 4: David Fanshawe's <I>African Sanctus: A Mass for Love and Peace</I> (1973) </P><P>Cultural and religious merging</P><P>Neo-colonial cosmopolitan patriot</P><P>Cultural and religious hybridity</P><P>Christian and Muslim perspectives</P><P>Transcultural flows</P><P>Conclusion to Part II</P><P></P><P>Part III: God meets Gaia: Concert masses for the environment</P><P>Introduction</P><P>Environmental Movement</P><P>New Spiritual Pathways</P><P>Christianity and Environmentalism</P><P>Lindisfarne Association</P><P>Part III case studies -- towards natural religion: environmental concert masses of Winter, Patterson, Lentz and Larsen</P><P></P><P>Chapter 5: Paul Winter's <I>Missa Gaia / Earth Mass</I> (1981) and Paul Patterson's <I>Mass of the Sea</I> (1983)</P><P>Introduction</P><P>Paul Winter's <I>Missa Gaia / Earth Mass</I> (1981)</P><P>"Earth Fair"</P><P>A concert mass</P><P>Gaia & God?</P><P>Paul Patterson's <I>Mass of the Sea</I></P><P></P><P>Chapter 6: David Lentz and Jessica Karraker's <I>wolfMAS</I>S (1987) and Libby Larsen's <I>Missa Gaia</I>: <I>Mass for the Earth</I> (1992)</P><P>Introduction</P><I><P>wolfMASS</I> (1987) -- Daniel Lentz and Jessica Karraker</P><P>Music</P><P>Libretto</P><I><P>Missa Gaia: Mass for the Earth</I> (1992) -- Libby Larsen</P><P>Music for mother Earth</P><P>Libretto -- replacement texts and musical choices</P><P>Credo: Speak to the Earth and It Shall Teach Thee</P><P>God?</P><P>Conclusion to Part III -- Christianity as religious symbol</P><P></P><P>Part IV: Reflecting Religious Diversity</P><P>Introduction</P><P>Historical antecedents</P><P>Concert Masses</P><P>Religious plurality</P><P>Theoretical concepts</P><P>Tolerance</P><P>Moral education</P><P>David Fanshawe -- <I>African Sanctus: A Mass For Love And Peace</I> (1973) (Reprise)</P><P>Exclusivism, inclusivism</P><P>Relativism</P><P>Concert Mass responses to plurality -- universalism and pluralism</P><P></P><P>Chapter 7: Universalistic approaches: Roger Davidson's <I>Missa Universalis I, II and III</I> (1987-1992) and Luis Bacalov's <I>Misa Tango</I> (1997)</P><P>Introduction</P><P>Universalism</P><P>Roger Davidson: <I>Missa Universalis I, II and III</I> (1987-1992)</P><P>Nuancing Universalism</P><P>Luis Bacalov's <I>Misa Tango</I> (1997)</P><P>Tango and Religion</P><P>Lamb of God</P><P></P><P>Chapter 8: Towards Pluralism: Carman Moore's <I>Mass for the 21st Century</I> (1994-1995)</P><P>Introduction</P><P>Abandoning universalism</P><P>Inclusive pluralism</P><P>Carman Moore's <I>Mass for the 21st Century</I> (1994-1995)</P><P>Universalism and pluralism</P><P></P><P>Chapter 9: Pluralism in two twenty-first-century concert masses: Karl Jenkins's <I>The Armed Man: A Mass for Peace</I> (2000) and <I>And on Earth Peace: A Chanticleer Mass</I> (2007)</P><I><P>Introduction</P><P>The Armed Man: A Mass for Peace</I> (2000)</P><P>Moving emotions through music</P><P>Choral and commercial success</P><P>Pluralistic aspects</P><I><P>And on Earth, Peace: A Chanticleer Mass</I> (2007)</P><P>Pluralism and universlism</P><P>Spirituality</P><P>Conclusion to Part IV</P><P></P><P>Conclusion: From secularism to pluralism in forty years of politicized concert masses</P><P></P><P>Index</P><P>Concert Mass Index</P>"Since the transformative 1960s, concert masses have incorporated a range of political and religious views that mirror their socio-cultural context. Those of the long 1960s (c1958-1975) reflect non-conformism and social activism; those of the 1980s, environmentalism; those of the 1990s, universalism; and those of the 2000s, cultural pluralism. Despite utilizing a format with its roots in the Roman Catholic liturgy, many of these politicized concert masses also reflect the increasing religious diversification of Western societies. By introducing non-Catholic and often non-Christian beliefs into masses that also remain respectful of Christian tradition, composers in the later twentieth- century have employed the genre to promote a conciliatory way of being that promotes the value of heterogeneity and reinforces the need to protect the diversity of musics, species and spiritualities that enrich life. In combining the political with the religious, the case studies presented pose challenges for both supporters and detractors of the secularization paradigm. Overarchingly, they demonstrate that any binary division that separates life into either the religious or the secular and promotes one over the other denies the complexity of lived experience and constitutes a diminution of what it is to be human"--Stephanie Rocke is a Research Fellow at the University of Melbourne with an ongoing interest in religious and cultural diversity as it is manifested in musical forms and musical activities across time. Recent publications reflect an expansion into the fields of music and emotion, the history of emotion, Australian music and creativity for wellbeing. The Origins and Ascendancy of the Concert Mass was published by Routledge in 2020.Description based on online resource; title from digital title page (viewed on September 12, 2022).