Exegesis and eisegesis: the choral composer as scriptural interpreter with special reference to settings of the Magnificat

UNCG Author/Contributor (non-UNCG co-authors, if there are any, appear on document)
Michael P. Dougherty (Creator)
The University of North Carolina at Greensboro (UNCG )
Web Site: http://library.uncg.edu/
Welborn Young

Abstract: The central aim of this study is to demonstrate a unified approach to the analysis of settings of scripture which includes the disciplines of Biblical criticism, liturgical history and practice, and music theory and analysis. To accomplish this, the text of the Magnificat is examined in a purely Biblical hermeneutic framework. Three settings of the Magnificat are analyzed in their historical and musical contexts. The settings analyzed are by J. S. Bach, Charles Villiers Stanford, and Arvo Pärt. The aim of the analyses is to integrate Biblical hermeneutic approaches to the texts with the composers' musical approaches to the texts in order to surmise the spiritual and theological import which the composer places on the text. In other words, to find out where the composer is performing exegesis and where the composer is performing eisegesis. Conclusions include practical uses of such a method in the programming of choral music for ensemble performance.

Additional Information

Language: English
Date: 2008
Analysis, Magnificat, Music, Scripture, Theory
Magnificat (Music) $v Instrumental settings $x History and criticism.
Bible. $x Criticism, interpretation, etc.
Bible $x Hermeneutics.

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