Table of Contents

Foreword and Acknowledgements; Introduction: 'Musing the Obscure': The Problem of Music and; Meaning...; Part One: Critique of Masculinist Theologies of Music; Chapter One: Phallic Rage for Order: Traditional Theologies of Music; Chapter Two: Sexing the Semitone: Music's Historical Engendering; Chapter Three: 'Inebriate Bewitchment': Harmony's Eternal Return; Part Two: Feminist Reconstruction; Chapter Four: Critical Counterpoint: Arpeggiating a Feminist; Theology of Music. Chapter Five: Twisted Sisters' Theological Grist: Music as; Redemptive Transgression; Chapter Six: 'Foul Ooze': New Icons of Abjection; Da Capo: 'Sing for our Time too': Future Theologies of; Attunement; Bibliography; Index

About the Author

A native of Newfoundland, Heidi Epstein has graduate degrees in music history and religious studies from McGill University, Montreal, where she was also a church organist and choir director. She is currently on the faculty of religious studies at St. Thomas More College, University of Saskatchewan.

Reviews

Summarized and cover featured. -The Chronicle of Higher Education, 12/10/04

"The central concern of this book, the promotion of the musical experience as the locus of musical meaning, is valuable to the development of theologies and philosophies of music, and musicology.  Epstein pursues this end admirably, developing insights that emerge from music's features and using them creatively.  It is here that the strength of the book lies." -Theology

"In Melting the Venusberg, Heidi Epstein gives an outline of the suspicions with which theologians throughout Christian history have viewed music, as well as offering a reinterpretation of music through the lens of feminist critique... The book's strength is the depth of research of attitudes toward music throughout the history of Christian theology. It provides information and insights that few theological students ever encounter."- Anglican Theological Review, Vol. 88, No. 1
*Anglican Theological Review*

"Studies of music and religion proliferate, but until the appearance of Melting the Venusberg few such studies have taken up the new issues and modes of inquiry that have caused so much ferment within musicology. This book testifies to Heidi Epstein's intelligence and originality in attempting to combine two fields with such radically different histories and scholarly traditions. Her musical knowledge is detailed and secure, and her ability to cope with important interdisciplinary currents formidable." —Mitchell Morris, Department of Musicology, University of California, Los Angeles
*Blurb from reviewer*

'This book testifies to Heidi Epstein's intelligence and originality in attempting to combine two fields with such radically different histories and scholarly traditions. Her musical knowledge is detailed and secure, and her ability to cope with important interdisciplinary currents formidable.' Theological Book Review, Vol 18, No. 1, 2006
*Theological Book Review*

 'The central concern of this book, the promotion of the musical experience as the locus of musical meaning, is valuable to the development of theologies and philosophies of music, and musicology. Epstein pursues this end admirably, developing insights that emerge from music's features and using them creatively. It is here that the strength of the book lies.'   - Ferdia Stone-Davis, Theology
*Theology*