When the lyrics of modern songs extol cop killing, deviant sexual behavior, Satanism, and suicide, and when rock concerts sometimes turn violent, lives are lost, and communities trashed in the aftermath, people begin to wonder about the link between music and morals. Does Scripture reveal anything applicable in this area? What does moral theology say about it? Has the Church made any pronouncements relevant to the problem? - Back cover.

“Music has power: It influences our thinking and not only conveys emotions, it produces genuine emotional states in the body. This power has been speculated about for centuries...and now, these speculations have been substantiated by scientific evidence.” –Excerpt from chapter four.Music and Morals examines the effects music has on the listener, putting to rest the myth that music is amoral.You will learn...• scientific evidence proving that music has positive or negative effects on the listener.• why immoral music is more powerful than Christian lyrics.• the difference between moral and immoral music techniques.• the underlying meanings of certain types of rhythms.and much more! A mini-reference guide to different musical styles and their origins and a CD with example clips of moral and immoral music are included.

The comprehensive introduction to Catholic moral theology by the leading theologian and author of The Moral Virtues and Theological Ethics. In Introduction to Moral Theology, Father Romanus Cessario, O.P. presents and expounds on the basic and central elements of Catholic moral theology written in the light of Veritatis splendor. Since its publication in 2001, this first book in the Catholic Moral Thought series has been widely recognized as an authoritative resource on such topics as moral theology and the good of the human person created in God’s image; natural law; principles of human action; determination of the moral good through objects, ends, and circumstances; and the virtues, gifts of the Holy Spirit, and the Beatitudes. The Catholic Moral Thought series is designed to provide students with a comprehensive presentation of both the principles of Christian conduct and the specific teachings and precepts for fulfilling the requirements of the Christian life. Soundly based in the teaching of the Church, the volumes set out the basic principles of Catholic moral thought and the application of those principles within areas of ethical concern that are of paramount importance today.

This book traces the role played by music within asylums, the participation of staff and patients in musical activity, and the links drawn between music, health, and wellbeing. In the first part of the book, the author draws on a wide range of sources to investigate the debates around moral management, entertainment, and music for patients, as well as the wider context of music and mental health. In the second part, a series of case studies bring to life the characters and contexts involved in asylum music, selected from a range of public and private institutions. From asylum bands to chapel choirs, smoking concerts to orchestras, the rich variety of musical activity presents new perspectives on music in everyday life. Aspects such as employment practices, musicians’ networks and the purchase and maintenance of musical instruments illuminate the ‘business’ of music as part of moral management. As a source of entertainment and occupation, a means of solace and self-control, and as a device for social gatherings and contact with the outside world, the place of music in the asylum offers valuable insight into its uses and meanings in nineteenth-century England.

Is morality dependent upon belief in God? Is there more than one way for Christians to understand the nature of morality? Is there any agreement between Christians and atheists or agnostics on this heated issue? In God and Morality: Four Views four distinguished voices in moral philosophy ariticulate and defend their place in the current debate between naturalism and theism. Christian philosophers, Keith Yandell and Mark Linville and two self-identified atheist/agnostics, Evan Fales and Michael Ruse clearly and honestly represent their differing views on the nature of morality. Important differences as well as areas of overlap emerge as each contributor states their case, receives criticism from the others and responds. Of particular value for use as an academic text, these four essays and responses, covering the naturalist moral non-realist, naturalist moral realist, moral essentialist and moral particularist views, will foster critical thinking and contribute to the development of a well-informed position on this very important issue.

Since the beginning of human civilization, music has been used as a device to control social behavior, where it has operated as much to promote solidarity within groups as hostility between competing groups. Music is an emotive manipulator that influences attitude, motivation and behavior at many levels and in many contexts. This volume is the first to address the social ramifications of music’s behaviorally manipulative effects, its morally questionable uses and control mechanisms, and its economic and artistic regulation through commercialization, thus highlighting not only music’s diverse uses at the social level but also the ever-fragile relationship between aesthetics and morality.

It seems self-evident that music plays more than just an aesthetic role in contemporary society. It is thus surprising that the subject of ethics is often neglected in discussions about music. Music and Ethics examines different ways in which music can contribute to theoretical discussions about ethics as well as concrete moral behaviour. Rather than offer a general musico-ethical theory, the book explores ethics as a practical concept, and demonstrates through concrete examples that the relation between music and ethics has never been absent.