Composing Christ’s Passion

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A01=Sarah Moerman
Agnostic
Arvo Part
Aural Icon
Author_Sarah Moerman
Category=AVLA
Category=AVLK
Category=AVN
Category=AVP
Category=QRA
Category=QRM
Category=QRVG
Christianity
comparative theology music
Composer
Composition
contemporary classical composers
Divine
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eq_bestseller
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eq_isMigrated=2
eq_music
eq_new_release
eq_nobargain
eq_non-fiction
Faith
faith and musical composition analysis
James MacMillan
John Adams
liturgical soundscapes
Methodology
Music
musico-theological
Orthodox
Orthodox iconography studies
Passion
Practice
Religious
sacred music analysis
Style
theological aesthetics
Theology

Product details

  • ISBN 9781032941837
  • Weight: 550g
  • Dimensions: 156 x 234mm
  • Publication Date: 19 Jun 2026
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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This book provides an account of the differing theologies and compositional approaches of three current composers—James MacMillan, Arvo Pärt, and John Adams. It contributes a comparative theological and musical analysis of their work through case studies of three of their major compositions.

The first part establishes the role of faith in James MacMillan’s musical inspiration, investigating how the suffering and death of Christ are direct and indirect themes in much of his work. It presents a close reading of St Luke Passion (2012), demonstrating how MacMillan uses music both as a theological practice of his faith and as a means to communicate theological meaning. The second part considers Arvo Pärt and how his Estonian religious and political formation influenced his compositional style. It presents a brief Orthodox theology of the icon and argues that Pärt—as a composer—acts as an Orthodox iconographer and that his Passio (1989) can be read and heard as an ‘aural icon’. The third part reframes the music of self-identified agnostic composer John Adams. It demonstrates how his music still provides theological insight, precipitating the possibility of God revealing something of himself to seekers, as well as compelling believers to interrogate their own theological assumptions. The author examines in detail The Gospel According to the Other Mary (2012), a contemporary reimagining of Christ’s Passion through the eyes of women and ethnic minorities.

The volume contributes comprehensive musical examples of how proposed methodological frameworks might be applied, arguing that different compositional styles and different faith backgrounds necessitate different musical and theological lenses. It will be of interest to scholars of both theology and music.

Sarah Moerman is a Research Fellow in Theology and Music at the University of St Andrews, UK.

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