table of contents

The following is the table of contents to Fides ex auditu, my recently submitted dissertation.

FIDES EX AUDITU:
DOGMATIC THEOLOGY AND THE ECCLESIAL PRACTICE OF MUSIC

ACKNOWLEDGMENTS
LIST OF ABBREVIATIONS

CHAPTER I: INTRODUCTION

1. Speech and Song in Jean-Luc Godard’s One Plus One
   
2. The Quest for Aesthetic and Moral Normativity
   
3. Taste, Normativity and the Ecclesial Practice of Music
   
4. The Kerygmatic Role of the Ecclesial Practice of Music
   
5. The Dogmatic Task and the Normativity of the Word

CHAPTER II: KARL BARTH’S MUSICAL ICONOCLASM

1. A Prelude on Mozart
   
   1. Freedom in Barth’s appreciation of Mozart
      
   2. Barth’s musical aesthetic and natural theology
   
   
2. Defining Dogmatics in Göttingen, 1924
   
   1. Dogmatics and the Word of God
      
   2. The Word of God as Proclamation
      
      1. Proclamation and the revelatory dialectic
         
      2. Proclamation as anaesthetic
   
   
3. A New Dimension of the Auftrag, 1930
   
   1. Critical use of the Auftrag
      
   2. The Auftrag in the Church Dogmatics
   
   
4. Barth’s Dogmatic Reflection as Impractically Concrete

CHAPTER III: POPE BENEDICT XVI AND THE ANCIENT ECCLESIAL PRACTICE OF MUSIC

1. Music and the Catholic Tradition
   
   1. Psalmody in the Ancient Church
      
   2. Philosophy and the Ancient and Early Medieval Church
      
   3. Legislation on the ecclesial practice of music
      
   4. Benedict XVI and the Catholic Tradition
   
   
2. “Theological Problems of Church Music”: an earlier essay
   
   
3. Sacred Music in the Ministry of the Word
   
   1. The primacy of the logos
      
   2. Divine action and ecclesiology
      
   3. The liturgical supplement
      
   4. Music and incarnation

CHAPTER IV: POPE BENEDICT XVI AND THE LATE MODERN ECCLESIAL PRACTICE OF MUSIC

1. Benedict’s Dogmatic Reflection on Music
   
   1. Church and culture
      
   2. Attributes of the logos
      
   3. Apollo contra Dionysus
   
   
2. A Genealogy of Modern Musical Heresy
   
   1. Nietzsche’s Dionysian Pessimism
      
   2. The Kantian Sublime
      
   3. Learning to Count: logic, rhetoric and modulatio
   
   
3. Principles of Particularity
   
   
4. Dogmatic Reflection on Music in Proper Perspective

CHAPTER V: THE DOGMATICS OF MUSIC: A CONCLUSION POINTING FORWARD

1. Fides ex auditu in Review
   
2. The Theologian as Music Critic

REFERENCE LIST