The Art of Listening in the Early Church PDF
Preview The Art of Listening in the Early Church
THE ART OF LISTENING IN THE EARLY CHURCH This page intentionally left blank The Art of Listening in the Early Church CAROL HARRISON 1 3 GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries #CarolHarrison2013 Themoralrightsoftheauthorhavebeenasserted FirstEditionpublishedin2013 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer BritishLibraryCataloguinginPublicationData Dataavailable ISBN 978–0–19–964143–7 PrintedandboundinGreatBritainby CPIGroup(UK)Ltd,Croydon,CR04YY for me marra Martin Souter great musician and oldest friend with love This page intentionally left blank Contents Preface ix Introduction:VoicesofthePage 1 FirstImpromptu:TheOtherSideofLanguageor‘listening tothevoiceofBeing’ 15 PartOne: AnAuditoryCulture 1. ListeninginCulturalContext 25 2. RhetoricandtheArtofListening 37 3. ImagesandEchoes 61 PartTwo: ThemeandVariations 4. Catechesis:SoundingtheTheme 87 SecondImpromptu:PlayingBall:TheArtofReception 117 5. Preaching:VariationsontheTheme 133 ThirdImpromptu:SingingtheBlues 169 PartThree: FromListeningtoHearing 6. ThePolyphonyofPrayer 183 7. FromtheBottomtotheBottomless 229 Bibliography 271 Index 295 This page intentionally left blank Preface Thisbookstartedlifeasoneonmusic—onhowpeoplethoughtaboutmusic, and what evidence we have for its practice—in the early Church. It quickly became clear to me, however, that this particular subject would have to wait untilthenextbookandthatIfirstneededtoexaminethemorebasicquestion: how did people think about listening, and what evidence do we have of it in practice?Thereaderwhomightmissmaterialontheliturgy,thepsalms,early Christianhymnsistobereassuredthatitistocome.Thereaderwhofindsthat thereisjusttoomuchAugustine,however,mustforgiveme:havingworkedon himforsomanyyearshedoestendtotakeover,howeverhardonetries. Iwasfortunateenoughtobeabletopursuesomeoftheideasforthisbook, andbeinspiredtofollowothers,throughteachinganMAmoduleonTrans- formative Listening in Durham. I’m very grateful to the students who have taken this module over the past few years for their valuable contributions. SomeofmyPhDstudentsworkingonMusicandTheologyhavealsocontrib- uted more than they know to this book, especially Joshua Waggener, James Jirtle,andDavidShirt.MywonderfulcolleagueandfriendinDurham’sMusic department, and collaborator for the Durham Network for Music Theology, BennettZon,istobethankedforpursuingmanyoftheideascontainedinthis bookwithme,evenifitwasoftenintheagonizingcontextofmaking(unfruit- ful) grant applications. I have also greatly appreciated conversations with other colleagues in Durham: Lewis Ayres, Krastu Banev, and Robert Song deserve special mention (the latter, not least, for bringing my attention to McGilchrist).IamalsoverygratefultoAndrewLouthforhelpingmetotrack down books, bibliography, and texts and for his work on the tacit (indeed, Iamawarethatthisbookprobablytacitlyowesagreatdealtohisthinking). BeyondDurhamIhavegreatlyvaluedtheencouragement,friendlyinterest, and scholarly advice of two colleagues, in particular: Gillian Clark, who has followed this book at every turn and become the best of friends; William Harmless for hugely enjoyable conversations on jazz, improvisation, and Augustine. The anonymous final reader for Oxford University Press is to be thankedforvaluablesuggestionsonstyle(thoughIfearthesentencesarestill fartoolong)andsubstance. Nearer home I must thank Isaac Harrison Louth for apposite quotations fromSpencertoEmilyDickinson,forbeinganexemplarypractitionerofthe artoflistening,andforofferingtheunsparingcriticismwhichonlyasondares give; Sasha Pokhilko for help with my Greek and for positively encouraging criticism.
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