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

Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of figures
List of tables
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
	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 and 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
	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 51
			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
	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
	4 David Fanshawe’s African Sanctus: A Mass for Love and Peace (1973)
		Introduction
			Cultural and religious merging
		Creation and critique
			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
	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 (1983)
	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
	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
	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
	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 universalism
			Spirituality
		Conclusion to Part IV
Conclusion: From secularism to pluralism in forty years of politicized concert masses
Index
Concert Mass Index