The Politicized Concert Mass (1967-2007): From Secularism to Pluralism

Contents

• Introduction
• The concert mass
• Concert mass background
• Conceptual framework and theoretical approaches
• Secularization
• Issues of transcendence
• Religious universalism and pluralism
• Relativism
• Cosmopolitan pluralists
• Book structure and chapter outlines
• Part I: Challenging boundaries in the long 1960s
• Introduction
• Civil protest
• Roman Catholic Activism
• Part I Case Studies – Introducing the masses of Axelrod, Davies and Bernstein
• Chapter 1: David Axelrod and the Electric Prunes’ psychedelic Mass in F Minor (1967)
• Cultural context – the popular music industry
• Mass in F Minor (1967) – The Electric Prunes & David Axelrod (1931–2017)
• David Axelrod – a creative autodidact
• Placing Mass in F Minor within the continuum of other masses
• An absence of religion (secularization)
• Psychedelic Elements of Mass in F Minor
• Text
• Reception
• Psychedelia and the counter culture
• Commodification – Mass in F minor as a product
• Mass in F minor legacy
• Chapter 2: Challenging Christianity: Provocative models in Peter Maxwell Davies’s and Leonard Bernstein’s theatrical concert masses Missa super l’homme armé (1971) and Mass (1971)
• Cultural context – a thirst for change
• Secularization in different spheres
• Missa super l’homme armé (1969 rev. 1971) – Peter Maxwell Davies
• Absurdity
• Sacrifice, betrayal and Christianity
• Mass (1971) – Leonard Bernstein
• Faith
• Social consciousness
• Detractors
• Part II: Expanding the concert mass into new territories
• Introduction
• Subversive protests
• Part II case studies – Chihara and Fanshawe: similarities and differences
• Chapter 3: Christianity as everyday practice: Paul Chihara’s Missa Carminum: Folk Song Mass (1975)
• Background and genesis
• Missa Carminum: Folk Song Mass (1975)
• Text juxtapositions
• Melodic juxtapositions
• Gloria
• Eros in the music of Missa Carminum
• Chapter 4: David Fanshawe’s African Sanctus: A Mass for Love and Peace (1973)
• Cultural and religious merging
• Neo-colonial cosmopolitan patriot
• Cultural and religious hybridity
• Christian and Muslim perspectives
• Transcultural flows
• Conclusion to Part II
• Part III: God meets Gaia: Concert masses for the environment
• Introduction
• Environmental Movement
• New Spiritual Pathways
• Christianity and Environmentalism
• Lindisfarne Association
• Part III case studies – towards natural religion: environmental concert masses of Winter, Patterson, Lentz and Larsen
• Chapter 5: Paul Winter’s Missa Gaia / Earth Mass (1981) and Paul Patterson’s Mass of the Sea (1983)
• Introduction
• Paul Winter’s Missa Gaia / Earth Mass (1981)
• "Earth Fair"
• A concert mass
• Gaia & God?
• Paul Patterson’s Mass of the Sea
• Chapter 6: David Lentz and Jessica Karraker’s wolfMASS (1987) and Libby Larsen’s Missa Gaia: Mass for the Earth (1992)
• Introduction
• wolfMASS (1987) – Daniel Lentz and Jessica Karraker
• Music
• Libretto
• Missa Gaia: Mass for the Earth (1992) – Libby Larsen
• Music for mother Earth
• Libretto – replacement texts and musical choices
• Credo: Speak to the Earth and It Shall Teach Thee
• God?
• Conclusion to Part III – Christianity as religious symbol
• Part IV: Reflecting Religious Diversity
• Introduction
• Historical antecedents
• Concert Masses
• Religious plurality
• Theoretical concepts
• Tolerance
• Moral education
• David Fanshawe – African Sanctus: A Mass For Love And Peace (1973) (Reprise)
• Exclusivism, inclusivism
• Relativism
• Concert Mass responses to plurality – universalism and pluralism
• Chapter 7: Universalistic approaches: Roger Davidson’s Missa Universalis I, II and III (1987–1992) and Luis Bacalov’s Misa Tango (1997)
• Introduction
• Universalism
• Roger Davidson: Missa Universalis I, II and III (1987–1992)
• Nuancing Universalism
• Luis Bacalov’s Misa Tango (1997)
• Tango and Religion
• Lamb of God
• Chapter 8: Towards Pluralism: Carman Moore’s Mass for the 21st Century (1994–1995)
• Introduction
• Abandoning universalism
• Inclusive pluralism
• Carman Moore’s Mass for the 21st Century (1994–1995)
• Universalism and pluralism
• Chapter 9: Pluralism in two twenty-first-century concert masses: Karl Jenkins’s The Armed Man: A Mass for Peace (2000) and And on Earth Peace: A Chanticleer Mass (2007)
• Introduction
• The Armed Man: A Mass for Peace (2000)
• Moving emotions through music
• Choral and commercial success
• Pluralistic aspects
• And on Earth, Peace: A Chanticleer Mass (2007)
• Pluralism and universlism
• Spirituality
• Conclusion to Part IV
• Conclusion: From secularism to pluralism in forty years of politicized concert masses
• Index
• Concert Mass Index