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Public Theology, Religious Diversity, and Interreligious Learning

about Lynch’s understanding of ‘self’ as a process of the ‘individualisation of religious forms’ through her Classical, Romantic, and Modern eras. Speaking personally I remain unconvinced that the trajectory is as clearly defined as she suggests. Returning to the changing nature of all forms of music, there is surely an argument to be made that what she identifies as a more individualistic approach to music represents in part, as mentioned at the outset, the changing nature of social interaction throughout the twentieth and twenty-first centuries. Nevertheless this is a stimulating and enlightening volume.