This document summarizes a workshop on musical theology that explored how music shapes beliefs and how understanding the theology behind music deepens the worship experience. The workshop traced music styles from plainchant to contemporary modes and discussed how composers like Bach expressed theology musically. Participants discussed better coordinating music with scripture and other service elements. They also considered how studying church music history can help create unity within services and a church's theological traditions.
This document summarizes a workshop on musical theology that explored how music shapes beliefs and how understanding the theology behind music deepens the worship experience. The workshop traced music styles from plainchant to contemporary modes and discussed how composers like Bach expressed theology musically. Participants discussed better coordinating music with scripture and other service elements. They also considered how studying church music history can help create unity within services and a church's theological traditions.
This document summarizes a workshop on musical theology that explored how music shapes beliefs and how understanding the theology behind music deepens the worship experience. The workshop traced music styles from plainchant to contemporary modes and discussed how composers like Bach expressed theology musically. Participants discussed better coordinating music with scripture and other service elements. They also considered how studying church music history can help create unity within services and a church's theological traditions.
This document summarizes a workshop on musical theology that explored how music shapes beliefs and how understanding the theology behind music deepens the worship experience. The workshop traced music styles from plainchant to contemporary modes and discussed how composers like Bach expressed theology musically. Participants discussed better coordinating music with scripture and other service elements. They also considered how studying church music history can help create unity within services and a church's theological traditions.
Download as DOC, PDF, TXT or read online from Scribd
Download as doc, pdf, or txt
You are on page 1of 13
Musical Theology: Past
lessons, present perspectives
Music shapes belief. Even people who've lost other memories or speech often remember songs. That's why it's important to choose worship music that fully expresses your church's theology. A feature story exploring the importance of music theology. Print By: Joan Huyser-Honig lic! on a photo to view this photo album. "hen alvin ollege religion professor #ichar$ %#ic!% &lantinga starts tal!ing about musical theology' he !nows he's up against a plausibility structure problem. Plausibility structure' a term coine$ by sociologist &eter (erger an$ applie$ by missiologist )esslie *ewbigin' refers to what is believable in a given culture at a given time. %+t's sort of a cultural pre,u$ice that theology $oesn't matter. Many people in churches to$ay are theologically unintereste$ an$ illiterate. -o a lot of us have $erive$ our plausibility structure an$ i$entity from contemporary culture' not the hristian church an$ tra$ition'% &lantinga explains. (ut church musicians in a wee!-long wor!shop came away convince$ that theology $oes matter-an$ that reconnecting music with theology can ma!e a profoun$ $i.erence. /n$erstan$ing an$ applying musical theology $eepens worshipers' experience of 0o$ an$ better prepares them to share 0o$'s "or$ in the worl$. Look deeper &lantinga an$ lay -chmit' a )utheran minister an$ 1uller Theological -eminary professor' trace the sweep from me$ieval plain chant through contemporary mo$es of worship music' mining meaning from both notes an$ text. %There's a gran$ tra$ition in church music that too many of us are not in conversation with'% &lantinga says. The wor! of Johann -ebastian (ach over2ows with examples of how to express theology musically. (ach was )utheran' well-verse$ in Martin )uther's theology of the cross. )uther a$vise$ people to 3n$ 0o$ by loo!ing not to heaven' human reason' or spiritual experience but to the cross' where hrist's saving act reveals our sin an$ 0o$'s love. (ach was cantor 4music $irector5 at -t. Thomas' a )utheran church in )eip6ig' 0ermany' when he wrote his -t. Matthew &assion for a 0oo$ 1ri$ay service. He wrote it in the !ey of E minor' which has one sharp. The 0erman wor$ for sharp is !reu6' which also means cross. The 0ospel of Matthew is pac!e$ with numerical symbolism' an$ (ach embe$$e$ biblically signi3cant numbers 4two' three' 3ve' seven' an$ twelve5 in his score. He also use$ music to emphasi6e !ey i$eas in the text. His notes ascen$ for the wor$ heaven. A melisma 4multi-note$ syllable5 highlights the wor$s love' $ie' wept' an$ forever. Those $rawn out notes help worshipers experience how 0o$'s love force$ hrist's $eath so that sorrowfully sinful people li!e &eter' who three times $enie$ !nowing Jesus' can live with 0o$ forever. After a wee! of exploring similar examples' wor!shop participant )uAnn -teiner vowe$ to pay special attention to %the theology of hymns selecte$ for a particular service.% -teiner' who is music assistant an$ chil$ren's choir $irector at 1irst Mennonite hurch in (lu.ton' 7hio' a$$s' %As the songs of the gathere$ bo$y of hrist' hymns are internali6e$ uni8uely by worshipers. /nli!e other service music' such as organ' piano' or choir selections' an$ unli!e the -cripture or sermon' hymns receive their incarnation in the corporate breathing an$ singing of the faith community.% Are you separating music and theology? "or!shop participants $iscusse$ the gap between the i$eal- coor$inating music with every other service element-an$ what really happens in local churches. %"hen the music $oes not support the -cripture of the $ay' then it can be viewe$ as a commo$ity whose value can too easily be re$uce$ to '+ li!e that song' or '+ $isli!e that song.' (ut the value an$ function of music in worship is much greater. %"hen -cripture' visuals' music' an$ movement all wor! towar$ the service theme' there's a greater chance for worship that praises the reator an$ nourishes an$ sustains the people'% -teiner says. 0reg &eters' associate pastor of 1air Havens ommunity hurch in (eaverton' 7ntario' laments music $irectors who can't recogni6e trite or theologically unsophisticate$ songs. %Music shoul$ be a me$ium use$ to teach !ey theological truths an$ shoul$ be theologically acute itself. -eparating music an$ theology lea$s to the view that music is only something $one before getting to the 'real' part of worship-the preaching of the "or$'% he says. Joan Averett' organist an$ music $irector at -an$ersville /nite$ Metho$ist hurch in -an$ersville' 0eorgia' explains how music a.ects $iscipleship. -he says a $isconnect between music an$ theology results in churches that %ten$ to 'entertain' the person in the pew rather than e8uip him for a $eeper un$erstan$ing of the gospels. These worshipers lac! the s!ills to go out an$ proclaim the "or$ throughout the worl$.% Learn from the past As!ing a church to pay more attention to musical theology may pro$uce con2ict. (ut recogni6ing that church musicians have struggle$ over worship issues for centuries can help congregations put their $iscussions in perspective. Averett says she 3n$s comfort in the controversy raise$ by the ouncil of Trent 49:;:-9:<=5. These lea$ers charge$ that music within the #oman atholic hurch ha$ become too lavish' was too har$ to sing' an$ interfere$ with the liturgy. %(ut the musicians felt the ouncil was trying to sti2e their creativity an$ control their compositions. The composer &alestrina was a calming force $uring this time of unrest. His beautiful wor!s serve$ as a bri$ge'% Averett explains. &lantinga an$ -chmit say that loo!ing into church music history can help church musicians create three !in$s of unity-within a given service' with a church's theological tra$ition' an$ with the church universal. -pea!ing of his church' )a0rave Avenue hristian #eforme$ hurch in 0ran$ #api$s' Michigan' &lantinga says' %Each service is well crafte$' $esigne$ to ma!e a theological point. The anthem texts an$ hymns 3t together. The postlu$e echoes the sermon theme. A #eformation -un$ay service will li!ely inclu$e a )utheran choral prelu$e.% >esigning services that convey a church's theological tra$ition may be easiest in strongly liturgical $enominations. %-ometimes the theology is more implicit. +f you sing a lot of hymns written by the "esleys' then as! what they wrote an$ why. &ic 7nwochei' a participant from *igeria' explaine$ that in &entecostal churches' theology is foun$ more in commitment to free$om an$ spontaneity than in a bo$y of music'% &lantinga says. Thoughtfully-chosen music can help worshipers see themselves as members of the church of all times an$ places' or' as the *icene ree$ puts it' %one holy catholic an$ apostolic church.% That insight prompte$ ?eith -cherer' $irector of worship ministry at *aperville &resbyterian hurch in *aperville' +llinois' to see that contemporary worship music is not the only way to renewal. %+ was $eeply move$ by how (ach expresse$ $eep theological truths. The wor!shop remin$e$ me not to forget other streams of renewal' such as liturgical renewal' liberation perspectives' an$ the charismatic or &entecostal movement'% -cherer says. -tu$ying the theology of so many music tra$itions was freeing for )eonar$o Espinosa' a worship team lea$er an$ violinist at ongregaci@n )e@n $e Ju$A in (oston an$ instructor at 0or$on- onwell Theological -eminary. %There is no one !in$ of music that exclusively 3ts worship or conveys theology. My own posture is to be more spiritually con3$ent' more theologically informe$' less suspicious' an$ more a$venturous. More can be $one in composing new music arising from a particular church's spiritual an$ theological experiences'% Espinosa says. Renew your worship &lantinga' -chmit' an$ wor!shop participants $iscusse$ how churches can use music more theologically. &lantinga recommen$s that worship planners use a church year calen$ar to $esign services that unite music an$ theology. Espinosa says it's essential for musicians an$ pastors to tal! with each other. He suggests o.ering more theological e$ucation to musicians an$ as!ing pastors to see musicians as ministers who communicate important worship truths. -electing suitable song texts wor!s best when pastors an$ musicians cooperate. As -cherer mentors volunteers who $esign an$ lea$ worship at his church' he will focus on the concept of absolute beauty. %>oes it existB +f so' how $o we access' name' an$ $escribe beautyB How is it to be present in corporate worshipB% he as!s. 7f course' ,ust as the reluctantly appreciative eaters in the 3lm Babette's Feast were oblivious to all that went into their magni3cent meal' worshipers often miss out on the rich signi3cance of what they are $oing an$ hearing. At ongregaci@n )e@n $e Ju$A' the pastor sometimes repeats the wor$s of a ,ust-sung song in the sermon. 7ther times the pastor $escribes a biblical concept' such as an attribute of 0o$' an$ then' right $uring the sermon' as!s worshipers to ,oin in a song about that concept or attribute. %Then people 'get it'-most of the time'% Espinosa says. "or!shop participants plan to use announcements in the bulletin or before a song to explain' say' the history of a hymn tune or scriptural reference in an instrumental piece. -ome want to o.er church e$ucation classes on musical theology or sponsor events that combine concerts or recitals with a brief lecture an$ time for au$ience re2ection. %+ hope to see a growing $ynamic in our worship that pierces to the heart with the beauty of the )or$'% -cherer conclu$es. Learn More #ic! &lantinga an$ lay -chmit $eci$e$ to o.er a musical theology seminar while wor!ing with Jeremy (egbie on a forthcoming boo! of essays' to be publishe$ in CDDE by Eer$mans &ublishing. (egbie' a (ritish scholar an$ musician' says that many hristians fear music an$ emotion in worship. (ut his passion is to unite theology an$ the arts' as he explains in this brief clip. )isten to (egbie's summary of thin!ing theologically about arts in worship or buy his tape$ speeches 4scroll $own to (egbie5. #ea$ his boo!s' such as Theology, Music and Time. 0oo$ boo!s to review for your church library or $iscuss in a fellowship' choir' or e$ucation setting inclu$eF A Survey of Christian Hymnody by >avi$ Music an$ "ilburn &rice 4rev. e$.5 ather into !ne" Praying and Singing lobally by . Michael Hawn My !nly Comfort" #eath, #eliverance, and #isci$leshi$ in the Music of Bach by alvin -tapert The Story of Christian Music" From regorian Chant to Blac% os$el, an Authoritative &llustrated uide to All the Ma'or Traditions of Music for (orshi$ by An$rew "ilson->ic!son Ges' theology $oes matter. #ea$ this interview with )esslie *ewbigin about plausibility structures an$ how to tal! with someone who has a totally $i.erent set of beliefs. *ee$ i$eas on how to explore your church's theological tra$itionB )in! to these teaching resources about being an$ acting as the bo$y of hrist' especially within your musically theological tra$ition or about worship music in general. (oo!mar! this page to see the latest music-relate$ entries in the alvin +nstitute of hristian "orship weblog. #ea$ (ert &olman's analysis of praise an$ worship songs an$ *icholas "olterstor.'s paper on how choirs an$ organs %crept into% #eforme$ liturgies. (ruce Har$ing's ana$ian Hymnology #esources &age is a treasure trove of lin!s to many streams of hymn an$ psalm singing tra$itions. -outhern (aptist Theological -eminary recommen$s these worship an$ music resources. #ea$ relate$ stories on hymn writing' choral anthems' an$ contemporary worship music. tart a !iscussion "hat musical metaphors can you use to $escribe the hristian lifeB -tart your brainstorming by thin!ing about a chor$-perhaps how a three-note chor$ can represent the Trinity or how in a complex chor$' many voices are hear$ but none $ominates. To what $egree $oes each element of your worship service 3t with the rest to ma!e a theological pointB "hat changes might you li!e to ma!eB "hat woul$ be the 3rst stepB +n C orinthians 9;F9:' &aul tal!s about the value of having someone to interpret the gift of tongues so that the whole church is e$i3e$. "ho can help interpret music theologically so your congregation is blesse$B How aware is the average congregation member of your church's theological or music tra$itionsB How might increase$ awareness $eepen worship an$ $iscipleshipB >o the wor$s music, $raise, an$ )orshi$ all mean the same thingB "hat new un$erstan$ings of worship an$ music woul$ help your sta. an$ congregationB hare "our #isdom "hat is the best way you've foun$ to help worshipers an$ music lea$ers explore your church's musically theological tra$ition an$ go beyon$B >i$ you write a curriculum' perhaps with recor$e$ samples or public songfests' to help your congregation un$erstan$ your theological an$ musical tra$itionB +f you've pro$uce$ a chec!list to help worship planners integrate music with the rest of the service' have you share$ it with other churchesB "hat have been the most 4or least5 helpful ways to let your congregation in on the richness of the music use$ in a particular serviceB >i$ you 3n$ a goo$ way to involve chil$ren an$ youth in expressing theological un$erstan$ing through musicB httpFHHworship.calvin.e$uHresourcesHresource-libraryHmusical-theology-past- lessons-present-perspectivesH worship.calvin.edu http://worship.calvin.edu/resources/resource-library/musical-theology-past-lessons- present-perspectives/ Musical Theology: Past lessons, present perspectives By: Music shapes belief. Even people who've lost other memories or speech often remember songs. That's why it's important to choose worship music that fully epresses your church's theology. ! feature story eploring the importance of music theology. "rint #oan $uyser-$onig %hen &alvin &ollege religion professor 'ichard ('ic)( "lantinga starts tal)ing about musical theology* he )nows he's up against a plausibility structure problem. Plausibility structure* a term coined by sociologist "eter Berger and applied by missiologist +esslie ,ewbigin* refers to what is believable in a given culture at a given time. (-t's sort of a cultural pre.udice that theology doesn't matter. Many people in churches today are theologically uninterested and illiterate. /o a lot of us have derived our plausibility structure and identity from contemporary culture* not the &hristian church and tradition*( "lantinga eplains. But church musicians in a wee)-long wor)shop came away convinced that theology does matter-and that reconnecting music with theology can ma)e a profound difference. 0nderstanding and applying musical theology deepens worshipers' eperience of 1od and better prepares them to share 1od's %ord in the world. Look deeper "lantinga and &lay /chmit* a +utheran minister and 2uller Theological /eminary professor* trace the sweep from medieval plain chant through contemporary modes of worship music* mining meaning from both notes and tet. (There's a grand tradition in church music that too many of us are not in conversation with*( "lantinga says. The wor) of #ohann /ebastian Bach overflows with eamples of how to epress theology musically. Bach was +utheran* well-versed in Martin +uther's theology of the cross. +uther advised people to find 1od by loo)ing not to heaven* human reason* or spiritual eperience but to the cross* where &hrist's saving act reveals our sin and 1od's love. Bach was cantor 3music director4 at /t. Thomas* a +utheran church in +eip5ig* 1ermany* when he wrote his /t. Matthew "assion for a 1ood 2riday service. $e wrote it in the )ey of E minor* which has one sharp. The 1erman word for sharp is )reu5* which also means cross. The 1ospel of Matthew is pac)ed with numerical symbolism* and Bach embedded biblically significant numbers 3two* three* five* seven* and twelve4 in his score. $e also used music to emphasi5e )ey ideas in the tet. $is notes ascend for the word heaven. ! melisma 3multi-noted syllable4 highlights the words love* die* wept* and forever. Those drawn out notes help worshipers eperience how 1od's love forced &hrist's death so that sorrowfully sinful people li)e "eter* who three times denied )nowing #esus* can live with 1od forever. !fter a wee) of eploring similar eamples* wor)shop participant +u!nn /teiner vowed to pay special attention to (the theology of hymns selected for a particular service.( /teiner* who is music assistant and children's choir director at 2irst Mennonite &hurch in Bluffton* 6hio* adds* (!s the songs of the gathered body of &hrist* hymns are internali5ed uni7uely by worshipers. 0nli)e other service music* such as organ* piano* or choir selections* and unli)e the /cripture or sermon* hymns receive their incarnation in the corporate breathing and singing of the faith community.( Are you separating music and theology? %or)shop participants discussed the gap between the ideal-coordinating music with every other service element-and what really happens in local churches. (%hen the music does not support the /cripture of the day* then it can be viewed as a commodity whose value can too easily be reduced to '- li)e that song' or '- disli)e that song.' But the value and function of music in worship is much greater. 1reg "eters* associate pastor of 2air $avens &ommunity &hurch in Beaverton* 6ntario* laments music directors who can't recogni5e trite or theologically unsophisticated songs. (Music should be a medium used to teach )ey theological truths and should be theologically acute itself. /eparating music and theology leads to the view that music is only something done before getting to the 'real' part of worship-the preaching of the %ord*( he says. #oan !verett* organist and music director at /andersville 0nited Methodist &hurch in /andersville* 1eorgia* eplains how music affects discipleship. /he says a disconnect between music and theology results in churches that (tend to 'entertain' the person in the pew rather than e7uip him for a deeper understanding of the gospels. These worshipers lac) the s)ills to go out and proclaim the %ord throughout the world.( Learn from the past !s)ing a church to pay more attention to musical theology may produce conflict. But recogni5ing that church musicians have struggled over worship issues for centuries can help congregations put their discussions in perspective. !verett says she finds comfort in the controversy raised by the &ouncil of Trent 389:9- 89;<4. These leaders charged that music within the 'oman &atholic &hurch had become too lavish* was too hard to sing* and interfered with the liturgy. (But the musicians felt the &ouncil was trying to stifle their creativity and control their compositions. The composer "alestrina was a calming force during this time of unrest. $is beautiful wor)s served as a bridge*( !verett eplains. "lantinga and /chmit say that loo)ing into church music history can help church musicians create three )inds of unity-within a given service* with a church's theological tradition* and with the church universal. /pea)ing of his church* +a1rave !venue &hristian 'eformed &hurch in 1rand 'apids* Michigan* "lantinga says* (Each service is well crafted* designed to ma)e a theological point. The anthem tets and hymns fit together. The postlude echoes the sermon theme. ! 'eformation /unday service will li)ely include a +utheran choral prelude.( =esigning services that convey a church's theological tradition may be easiest in strongly liturgical denominations. (/ometimes the theology is more implicit. -f you sing a lot of hymns written by the %esleys* then as) what they wrote and why. "ic 6nwochei* a participant from ,igeria* eplained that in "entecostal churches* theology is found more in commitment to freedom and spontaneity than in a body of music*( "lantinga says. Thoughtfully-chosen music can help worshipers see themselves as members of the church of all times and places* or* as the ,icene &reed puts it* (one holy catholic and apostolic church.( That insight prompted >eith /cherer* director of worship ministry at ,aperville "resbyterian &hurch in ,aperville* -llinois* to see that contemporary worship music is not the only way to renewal. (- was deeply moved by how Bach epressed deep theological truths. The wor)shop reminded me not to forget other streams of renewal* such as liturgical renewal* liberation perspectives* and the charismatic or "entecostal movement*( /cherer says. /tudying the theology of so many music traditions was freeing for +eonardo Espinosa* a worship team leader and violinist at &ongregaci?n +e?n de #ud@ in Boston and instructor at 1ordon-&onwell Theological /eminary. (There is no one )ind of music that eclusively fits worship or conveys theology. My own posture is to be more spiritually confident* more theologically informed* less suspicious* and more adventurous. More can be done in composing new music arising from a particular church's spiritual and theological eperiences*( Espinosa says. enew your worship "lantinga* /chmit* and wor)shop participants discussed how churches can use music more theologically. "lantinga recommends that worship planners use a church year calendar to design services that unite music and theology. Espinosa says it's essential for musicians and pastors to tal) with each other. $e suggests offering more theological education to musicians and as)ing pastors to see musicians as ministers who communicate important worship truths. /electing suitable song tets wor)s best when pastors and musicians cooperate. !s /cherer mentors volunteers who design and lead worship at his church* he will focus on the concept of absolute beauty. (=oes it eistA -f so* how do we access* name* and describe beautyA $ow is it to be present in corporate worshipA( he as)s. 6f course* .ust as the reluctantly appreciative eaters in the film Babette's Feast were oblivious to all that went into their magnificent meal* worshipers often miss out on the rich significance of what they are doing and hearing. !t &ongregaci?n +e?n de #ud@* the pastor sometimes repeats the words of a .ust-sung song in the sermon. 6ther times the pastor describes a biblical concept* such as an attribute of 1od* and then* right during the sermon* as)s worshipers to .oin in a song about that concept or attribute. (Then people 'get it'-most of the time*( Espinosa says. %or)shop participants plan to use announcements in the bulletin or before a song to eplain* say* the history of a hymn tune or scriptural reference in an instrumental piece. /ome want to offer church education classes on musical theology or sponsor events that combine concerts or recitals with a brief lecture and time for audience reflection. (- hope to see a growing dynamic in our worship that pierces to the heart with the beauty of the +ord*( /cherer concludes. Learn More 'ic) "lantinga and &lay /chmit decided to offer a musical theology seminar while wor)ing with #eremy Begbie on a forthcoming boo) of essays* to be published in BCCD by Eerdmans "ublishing. Begbie* a British scholar and musician* says that many &hristians fear music and emotion in worship. But his passion is to unite theology and the arts* as he eplains in this brief clip. +isten to Begbie's summary of thin)ing theologically about arts in worship or buy his taped speeches 3scroll down to Begbie4. 'ead his boo)s* such as Theology, Music and Time. 1ood boo)s to review for your church library or discuss in a fellowship* choir* or education setting include: A Survey of Christian Hymnody by =avid Music and %ilburn "rice 3rev. ed.4 ather into !ne" Praying and Singing lobally by &. Michael $awn My !nly Comfort" #eath, #eliverance, and #isci$leshi$ in the Music of Bach by &alvin /tapert The Story of Christian Music" From regorian Chant to Blac% os$el, an Authoritative &llustrated uide to All the Ma'or Traditions of Music for (orshi$ by !ndrew %ilson-=ic)son Ees* theology does matter. 'ead this interview with +esslie ,ewbigin about plausibility structures and how to tal) with someone who has a totally different set of beliefs. ,eed ideas on how to eplore your church's theological traditionA Bruce $arding's &anadian $ymnology 'esources "age is a treasure trove of lin)s to many streams of hymn and psalm singing traditions. /outhern Baptist Theological /eminary recommends these worship and music resources. 'ead related stories on hymn writing* choral anthems* and contemporary worship music. !tart a "iscussion %hat musical metaphors can you use to describe the &hristian lifeA /tart your brainstorming by thin)ing about a chord-perhaps how a three-note chord can represent the Trinity or how in a comple chord* many voices are heard but none dominates. To what degree does each element of your worship service fit with the rest to ma)e a theological pointA %hat changes might you li)e to ma)eA %hat would be the first stepA -n B &orinthians 8::89* "aul tal)s about the value of having someone to interpret the gift of tongues so that the whole church is edified. %ho can help interpret music theologically so your congregation is blessedA $ow aware is the average congregation member of your church's theological or music traditionsA $ow might increased awareness deepen worship and discipleshipA =o the words music, $raise, and )orshi$ all mean the same thingA %hat new understandings of worship and music would help your staff and congregationA !hare #our $isdom %hat is the best way you've found to help worshipers and music leaders eplore your church's musically theological tradition and go beyondA =id you write a curriculum* perhaps with recorded samples or public songfests* to help your congregation understand your theological and musical traditionA -f you've produced a chec)list to help worship planners integrate music with the rest of the service* have you shared it with other churchesA %hat have been the most 3or least4 helpful ways to let your congregation in on the richness of the music used in a particular serviceA =id you find a good way to involve children and youth in epressing theological understanding through musicA "ublished: !ugust C9* BCC9 'esource Type: 2eature /tory &ategory: Music* %orship- "lanning Tas): 2ind or write music* 2ind or start a discussion Tags: Theology %omments
(Texts and Editions For New Testament Study 11) Simon Gathercole - The Gospel of Thomas - Introduction and Commentary-Brill Academic Publishers (2014) PDF