Are you ready for the answers?
Join Jettie Harris as she continues her lifelong pursuit for answers for what Robert Shaw called "Truth in Music."
After an additional seven years of research for the "scientific proof" Jettie's quest was successfully completed with answers to her questions:
- ♣ Where did music come from?
- ♣ Why is music the universal language?
- ♣ Why does every culture love music?
Are you ready to take your imagination to new heights?
Then God's Opera is a must read for you!
The use of the Opera art form as an analogy for the Creation Chronicles may seem odd at first. But using opera as a template was deliberate on my part. Although it must be understood that it has nothing to do with the philosophical, political or theological frameworks which were so evident in the mid- to late-19th century when opera as an art-form was burgeoning. My choice of this art-form is quite simple. It is prompted by the philosophy behind Richard Wagner's expansive re-working of the opera format in order to provide a more satisfactory and useful vehicle for his huge imagination and the demands that this imagination put on opera as it stood in the early years of his artistic growth: as patriarch of the opera in 19th century Europe, he changed the landscape of opera composition and performance forever.
It will be obvious as this writing progresses that one of the driving energies behind my entire journey has been the understanding that everything in the universe has a unifying common thread running through it. Of course, from my perspective, that common thread is to be expected because it is the complete expression of the Omniscient Creator, God Almighty.
Literally, the word "opera" means work, effort, and emanates from the concept of doing "work". The genitive form of the word, being "the act of possession", infers that the Creator also possesses that which He "worked" to accomplish. The Creation, then is "His". This idea is in complete agreement with the Biblical concept of God the Father as being the Owner of all Creation from conception to consummation at the end of time when we shall finally see "as we are seen" and understand "as we are understood".
Comparing opera to work and to creation, then, takes on a deeper meaning. It is not simply a good analogy: the idea of "opera" becomes the framework for understanding the narrative of the Creation Chronicle as a musical drama, with a body of musical building blocks---with sound and vibration being the key elements---as the raw materials out of which that drama is constructed and sustained. And it is also, then, at this juncture, to perceive Creation as what it really is---the work or Word of God.
