Analysis, theology, and expressive shaping of sound
I’m writing to ask for help finding literature on two seemingly unrelated topics.
My first topic is music analysis and theology – specifically Christian theology, but as my focus will be largely methodological, interesting relations between music analysis and other theologies would also be good to hear about. In looking at music analysis, I aim to cast a wide net, so not restricted to analysis of notated musical texts, for example, but I do exclude two things. I am looking at specific configurations of musical sound, so theological perspectives on the materials of music in general (e.g. the Boethian tradition) are outside the bounds of my study. I also exclude examinations of texted music whose theological connections are limited to the text itself.
It’s a huge topic, and the results on RILM are overwhelming. So I’m looking for pointers especially toward works that stand out for putting music analysis and theology into relationship in particularly insightful/interesting/idiosyncratic ways. Please don't be bashful about drawing your own work to my attention!
The second topic is the way in which specific performance inflections can steer the meaning and expression of music in one direction or another. For example, how might a performance of Shostakovich’s Fifth Symphony take a position on its being either triumphant or sarcastic? Or, how can a cover or a remix of a pop song change meaning and expression in relation to the original? Especially as the literature on this topic is much smaller, I’d be happy to hear about insightful discussions of any kind, including in magazine articles, record reviews, etc.
These are both in support of my work on the chapter on music analysis for the Oxford Handbook of Music and Christian Theology. Many thanks in advance for replies, either public or private.