摘要：This article presents an annotated English translation of the composer-theologian Dieter Schnebel’s seminal essay exploring music’s spiritual capacities. Speaking explicitly from his time and place, Schnebel considers compositional questions arising from the most advanced new music of European modernism. The approach is driven by insights derived from Marxist critical theory and the “new theology” associated with Bonhoeffer, Bultmann, and others. Acknowledging the secularized, religionless society Bonhoeffer had predicted in 1944, Schnebel argues that an authentic geistliche Musik has always been one driven by a secularizing dynamic, pressing beyond the walls of the church to engage a broken world of injustice and suffering. For him, the experimental avant-garde is fertile ground, since a music of the Spirit is a new, non-conformist music engaged in renewal. A translator’s introduction analyzes briefly the major components of Schnebel’s thought.
关键词：Theodor Adorno; Dietrich Bonhoeffer; Karl Barth; Anton Webern; Gustav Mahler; demythologization; secularization; Confessing Church; German modernism Theodor Adorno ; Dietrich Bonhoeffer ; Karl Barth ; Anton Webern ; Gustav Mahler ; demythologization ; secularization ; Confessing Church ; German modernism
