Kuyper, Lectures on Calvinism (Grand Rapids: Eerdmans, 1931), 144.

Kuyper, Lectures on Calvinism (Grand Rapids: Eerdmans, 1931), 144.)| false
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See for instance, Daniel A. Siedell, God in the Gallery: A Christian Embrace of Modern Art (Grand Rapids: Baker Academic, 2008), and Paul C. Finney, Seeing Beyond the Word: Visual arts and the Calvinist tradition (Grand Rapids: Eerdmans, 1999).

See for instance, Daniel A. Siedell, God in the Gallery: A Christian Embrace of Modern Art (Grand Rapids: Baker Academic, 2008), and Paul C. Finney, Seeing Beyond the Word: Visual arts and the Calvinist tradition (Grand Rapids: Eerdmans, 1999).)| false
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Calvin, Institutes, 2.2.14, 273.

Calvin, Institutes, 2.2.14, 273.)| false
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Calvin, Institutes, 2.2.14, 273.

Calvin, Institutes, 2.2.14, 273.)| false
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Kuyper, Lectures on Calvinism, 153. The original quote is from Calvin’s commentary on Exodus 31:2, where he notes that “all the arts emanate from Him, and therefore ought to be accounted divine inventions.” Calvin, Commentaries on the Four last books of Moses, Vol. 3, trans. Charles W. Bingham (Edinburgh: Calvin Translation Society, 1847), 291.

Kuyper, Lectures on Calvinism, 153. The original quote is from Calvin’s commentary on Exodus 31:2, where he notes that “all the arts emanate from Him, and therefore ought to be accounted divine inventions.” Calvin, Commentaries on the Four last books of Moses, Vol. 3, trans. Charles W. Bingham (Edinburgh: Calvin Translation Society, 1847), 291.)| false
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Kuyper, Het calvinisme en de kunst, 14; cf. Lectures on Calvinism, 156.

Kuyper, Het calvinisme en de kunst, 14; cf. Lectures on Calvinism, 156.)| false
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Kuyper, Lectures on Calvinism, 155.

Kuyper, Lectures on Calvinism, 155.)| false
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See Kuyper, Lectures on Calvinism, 151.

See Kuyper, Lectures on Calvinism, 151.)| false
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Kuyper, Het calvinisme en de kunst, 15–16.

Kuyper, Het calvinisme en de kunst, 15–16.)| false
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Kuyper, Lectures on Calvinism, 162; cf. 53.

Kuyper, Lectures on Calvinism, 162; cf. 53.)| false
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Kuyper, Lectures on Calvinism, 153.

Kuyper, Lectures on Calvinism, 153.)| false
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Kuyper, Lectures on Calvinism, 162–163.

Kuyper, Lectures on Calvinism, 162–163.)| false
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Hans Heinrich Wolf, “Die Bedeutung der Musik bei Calvin,” Monatsschrift für Gottesdienst und kirchliche Kunst 41 (1936): 198–204.

Hans Heinrich Wolf, “Die Bedeutung der Musik bei Calvin,” Monatsschrift für Gottesdienst und kirchliche Kunst 41 (1936): 198–204.)| false
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Wolf, “Die Bedeutung der Musik bei Calvin,” 199.

Wolf, “Die Bedeutung der Musik bei Calvin,” 199.)| false
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Begbie, Music, Modernity, and God, 34.

Begbie, Music, Modernity, and God, 34.)| false
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Begbie, Music, Modernity, and God, 34.

Begbie, Music, Modernity, and God, 34.)| false
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Begbie, Music, Modernity, and God, 32. See also his observations in Begbie, ‘Created Beauty: The Witness of J.S. Bach,’ in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 83–108.

Begbie, Music, Modernity, and God, 32. See also his observations in Begbie, ‘Created Beauty: The Witness of J.S. Bach,’ in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 83–108.)| false
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Begbie, Music, Modernity, and God, 32–33.

Begbie, Music, Modernity, and God, 32–33.)| false
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See John Barber, ‘The Music God likes and the Calvinist Tradition,’ in The Kuyper Center Review, vol. 3: Calvinism and Culture, ed. Gordon Graham (Grand Rapids: Eerdmans, 2013), 130–148.

See John Barber, ‘The Music God likes and the Calvinist Tradition,’ in The Kuyper Center Review, vol. 3: Calvinism and Culture, ed. Gordon Graham (Grand Rapids: Eerdmans, 2013), 130–148.)| false
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Wolf, “Die Bedeutung der Musik bei Calvin,” 200.

Wolf, “Die Bedeutung der Musik bei Calvin,” 200.)| false
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Begbie, Music, Modernity, and God, 39.

Begbie, Music, Modernity, and God, 39.)| false
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See Richard J. Platinga, ‘The Integration of Music and Theology in the Vocal Compositions of J.S. Bach,’ in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 215–239; see also John Eliot Gardiner, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach (London: Penguin, 2013), 125–156.

See Richard J. Platinga, ‘The Integration of Music and Theology in the Vocal Compositions of J.S. Bach,’ in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 215–239; see also John Eliot Gardiner, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach (London: Penguin, 2013), 125–156.)| false
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Begbie, ‘Created Beauty: The Witness of J.S. Bach,’ in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 104.

Begbie, ‘Created Beauty: The Witness of J.S. Bach,’ in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 104.)| false
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Hart, The Beauty of the Infinite: The Aesthetics of Christian Truth (Grand Rapids: Eerdmans, 2003), 283.

Hart, The Beauty of the Infinite: The Aesthetics of Christian Truth (Grand Rapids: Eerdmans, 2003), 283.)| false
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See Edward Campbell, Boulez, Music and Philosophy (Cambridge: Cambridge University Press, 2010), 97–137.

See Edward Campbell, Boulez, Music and Philosophy (Cambridge: Cambridge University Press, 2010), 97–137.)| false
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See Edward Campbell, Boulez, Music and Philosophy, 97–111.

See Edward Campbell, Boulez, Music and Philosophy, 97–111.)| false
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Campbell, Boulez, Music and Philosophy, 108.

Campbell, Boulez, Music and Philosophy, 108.)| false
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See Campbell, Boulez, Music and Philosophy, 10–36.

See Campbell, Boulez, Music and Philosophy, 10–36.)| false
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See David W. Bernstein, “Cage and high modernism,” in The Cambridge Companion to John Cage, ed. David Nicholls (Cambridge: Cambridge University Press, 2002), 201–203.

See David W. Bernstein, “Cage and high modernism,” in The Cambridge Companion to John Cage, ed. David Nicholls (Cambridge: Cambridge University Press, 2002), 201–203.)| false
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Konrad Boehmer, “Chance as Ideology,” in John Cage, ed. Julia Robinson (Cambridge: MIT Press, 2011), 26.

Konrad Boehmer, “Chance as Ideology,” in John Cage, ed. Julia Robinson (Cambridge: MIT Press, 2011), 26.)| false
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Begbie, Music, Modernity, and God, 100–101.

Begbie, Music, Modernity, and God, 100–101.)| false
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See Vern S. Poythress, Chance and the Sovereignty of God: A God-centered Approach to Probability and Random Events (Wheaton: Crossway, 2014).

See Vern S. Poythress, Chance and the Sovereignty of God: A God-centered Approach to Probability and Random Events (Wheaton: Crossway, 2014).)| false
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Kuyper, Lectures on Calvinism, 154.

Kuyper, Lectures on Calvinism, 154.)| false
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Kuyper, Lectures on Calvinism, 154.

Kuyper, Lectures on Calvinism, 154.)| false
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Kuyper, Wisdom and Wonder, 165.

Kuyper, Wisdom and Wonder, 165.)| false
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Kuyper, Lectures on Calvinism, 155.

Kuyper, Lectures on Calvinism, 155.)| false
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See James D. Bratt, Abraham Kuyper: Modern Calvinist, Christian Democrat (Grand Rapids: Eerdmans, 2013), 23, 33–34, 40.

See James D. Bratt, Abraham Kuyper: Modern Calvinist, Christian Democrat (Grand Rapids: Eerdmans, 2013), 23, 33–34, 40.)| false
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Hoffmann, “Beethovens Instrumentalmusik,” Zeitung für die Elegante Welt, 245 (December 9, 1813), Sp. 1953.

Hoffmann, “Beethovens Instrumentalmusik,” Zeitung für die Elegante Welt, 245 (December 9, 1813), Sp. 1953.)| false
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Bratt, Abraham Kuyper, 34. See also Heslam, Creating a Christian Worldview, 206–209.

Bratt, Abraham Kuyper, 34. See also Heslam, Creating a Christian Worldview, 206–209.)| false
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See Bratt, Abraham Kuyper, 50.

See Bratt, Abraham Kuyper, 50.)| false
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See Begbie, Music, Modernity, and God, 41–72.

See Begbie, Music, Modernity, and God, 41–72.)| false
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See Robert Sholl, “The Shock of the Positive: Olivier Messiaen, St. Francis, and Redemption through Modernity,” in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 162–189.

See Robert Sholl, “The Shock of the Positive: Olivier Messiaen, St. Francis, and Redemption through Modernity,” in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 162–189.)| false
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See Bruhn, Messiaen’s Interpretations of Holiness and Trinity, 115–117.

See Bruhn, Messiaen’s Interpretations of Holiness and Trinity, 115–117.)| false
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See Bruhn, Messiaen’s Interpretations of Holiness and Trinity, 105–114.

See Bruhn, Messiaen’s Interpretations of Holiness and Trinity, 105–114.)| false
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See Sander van Maas, Reinvention of Religious Music: Olivier Messiaen’s Breakthrough toward the Beyond (New York: Fordham University Press, 2009), 32.

See Sander van Maas, Reinvention of Religious Music: Olivier Messiaen’s Breakthrough toward the Beyond (New York: Fordham University Press, 2009), 32.)| false
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Messiaen, in Sander van Maas, Reinvention of Religious Music, 26.

Messiaen, in Sander van Maas, Reinvention of Religious Music, 26.)| false
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Messiaen, in Sander van Maas, Reinvention of Religious Music, 2. One ought to add at this point that Messiaen’s notion of ‘breakthrough’ includes a reciprocal theology of praise, namely on part of the human being (in the composition/performance of music) and the divine (in revelation through music). Our attention has been more on the former than the latter.

Messiaen, in Sander van Maas, Reinvention of Religious Music, 2. One ought to add at this point that Messiaen’s notion of ‘breakthrough’ includes a reciprocal theology of praise, namely on part of the human being (in the composition/performance of music) and the divine (in revelation through music). Our attention has been more on the former than the latter.)| false
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Messiaen, in Sander van Maas, Reinvention of Religious Music, 16.

Messiaen, in Sander van Maas, Reinvention of Religious Music, 16.)| false
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See Sander van Maas, “Messiaen’s Saintly Naïveté,” in Messiaen the Theologian, ed. Andrew Shanton, 41–62 (Aldershot: Ashgate, 2010), 41–42.

See Sander van Maas, “Messiaen’s Saintly Naïveté,” in Messiaen the Theologian, ed. Andrew Shanton, 41–62 (Aldershot: Ashgate, 2010), 41–42.)| false
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Begbie, Music, Modernity, and God, 192.

Begbie, Music, Modernity, and God, 192.)| false
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Kuyper, Wisdom and Wonder, 164.

Kuyper, Wisdom and Wonder, 164.)| false
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Anderson, “The (In)visibility of Theology in Contemporary Art Criticism,” in Christian Scholarship in the Twenty-First Century: Prospects and Perils, eds. Thomas M. Crisp, Steve L. Porter, and Gregg A. Ten Elshof, 53–79 (Grand Rapids: Eerdmans, 2014), 79.

Anderson, “The (In)visibility of Theology in Contemporary Art Criticism,” in Christian Scholarship in the Twenty-First Century: Prospects and Perils, eds. Thomas M. Crisp, Steve L. Porter, and Gregg A. Ten Elshof, 53–79 (Grand Rapids: Eerdmans, 2014), 79.)| false
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See Jeremy S. Begbie, “Faithful Feelings: Music and Emotion in Worship,” in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 323–354.

See Jeremy S. Begbie, “Faithful Feelings: Music and Emotion in Worship,” in Resonant Witness: Conversations between Music and Theology, eds. Jeremy S. Begbie and Steven R. Guthrie (Grand Rapids: Eerdmans, 2011), 323–354.)| false
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Macleod, “Scottish Calvinism: A Dark, Repressive Force?”, Scottish Bulletin of Evangelical Theology 19:2 (2001), 225.

Macleod, “Scottish Calvinism: A Dark, Repressive Force?”, Scottish Bulletin of Evangelical Theology 19:2 (2001), 225.)| false
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I have taken this notion from van Maas, Reinvention of Religious Music, 160–162.

I have taken this notion from van Maas, Reinvention of Religious Music, 160–162.)| false
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Adorno, Einleitung in die Musiksoziologie (Frankfurt a.M.: Suhrkamp, 1975).

Adorno, Einleitung in die Musiksoziologie (Frankfurt a.M.: Suhrkamp, 1975).)| false
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