Thematische Bibliographien / Musica e Religione

Auswahl der wissenschaftlichen Literatur zum Thema „Musica e Religione“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Musica e Religione"

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Lortat-Jacob, Bernard, und Daniele Sestili. „La voce degli dèi [la voix des dieux], Musica e religione nel rito giapponese del kagura“. Cahiers de musiques traditionnelles 14 (2001): 328. http://dx.doi.org/10.2307/40240425.

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2

Sarti, Tommaso. „Quel legame tra Islam e hip-hop: un urlo di rivalsa e di resistenza“. MONDI MIGRANTI, Nr. 1 (Mai 2024): 195–210. http://dx.doi.org/10.3280/mm2024-001011.

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Il presente contributo affronta da una prospettiva storico-sociologia il rapporto tra religione islamica e cultura hip hop. Se negli USA osserviamo un rapporto molto esplicito e con una chiara impostazione militante, grazie anche alla presenza di organizzazioni islamiche come la Nation of Islam e la Five Percenter, questo legame in Europa a un primo sguardo appare meno marcato. Eppure, come vedremo, anche per gli artisti europei l'Islam non è un elemento secondario perché sembra diventare un catalizzatore d'identità in grado di unire soggetti marginalizzati che attraverso la musica riescono a farsi sentire e lanciare un messaggio. Partendo dalle sue origini in Giamaica, ripercorreremo la strada dell'hip hop e del suo incon-tro con l'Islam nelle strade del Bronx e, passando dalla Francia, arriveremo ad os-servare l'attuale scena rap italiana rappresentata in particolar modo da collettivi come la NPT e la Seven7oo.
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Gersh, Stephen. „The First Principles of Latin Neoplatonism: Augustine, Macrobius, Boethius“. Vivarium 50, Nr. 2 (2012): 113–38. http://dx.doi.org/10.1163/15685349-12341236.

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Abstract This essay attempts to provide more evidence for the notions that there actually is a Latin (as opposed to a Greek) Neoplatonic tradition in late antiquity, that this tradition includes a systematic theory of first principles, and that this tradition and theory are influential in Western Europe during the Middle Ages. The method of the essay is intended to be novel in that, instead of examining authors or works in a chronological sequence and attempting to isolate doctrines in the traditional manner, it proceeds by identifying certain philosophemes (a concept borrowed from structuralist and post-structuralist thought and here signifying certain minimal units from which philosophical “systems” can be constructed), and then studying the combination and re-combination of these philosophemes consciously and unconsciously by a selection of important medieval writers. These philosophemes occur in Augustine, De Genesi ad Litteram; Augustine, De Trinitate; Augustine, De Vera Religione; Augustine, De Musica; Macrobius, Commentarius in Somnium Scipionis; and Boethius, De Consolatione Philosophiae. The sampling of medieval authors who use these philosophemes includes Eriugena, William of Conches, Thierry of Chartres, and Nicholas of Cusa.
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Beck, Guy L. „Theology of Music and Hindu Religion: From Divine Origins to Classical Songs“. Religions 12, Nr. 8 (19.08.2021): 663. http://dx.doi.org/10.3390/rel12080663.

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As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e., Brahmā, Vishnu, and Śiva), associated with ‘musical angels,’ and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).
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MacLachlan, Heather. „Introduction to Special Issue, Music in World Religions: A Response to Isabel Laack“. Religions 12, Nr. 12 (25.11.2021): 1044. http://dx.doi.org/10.3390/rel12121044.

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This article serves to introduce a special issue of Religions, titled Music in World Religions. A 2015 article by religion scholar Isabel Laack claimed that the study of music and religion has been neglected by Laack’s peers in the field of religions. Responding to Laack, I argue that scholars of music have been making important contributions to the study of music and religion and, indeed, have been addressing the twelve specific topics she highlights for decades. After summarizing academic works which respond to Laack’s twelve categories of inquiry, I introduce each of the articles in this special issue, showing that each of these also address the gap in the literature that Laack perceived. Ultimately, I argue that transdisciplinarity in the study of music and religion is alive and well, and is exemplified both by historic writings and by those contained in Music in World Religions.
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Perigo, Jeremy. „Beyond Translated vs. Indigenous: Turkish Protestant Christian Hymnody as Global and Local Identity“. Religions 12, Nr. 11 (20.10.2021): 905. http://dx.doi.org/10.3390/rel12110905.

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At Turkey’s first national worship conferences in 2011, a passionate debate arose on whether Western music or indigenous Turkish music was most appropriate for worship. Some Turks felt that the Western missionaries were imposing indigenous musics on Turks as a type of “reverse colonization”. They felt that the current Western musical styles were best for worship. One Turk stated, “the saz is being forced down our throats”. Other Turks felt liberated to sing and play songs in traditional Turkish musical styles. The debate at the conference highlights the desire of missionaries and Turks to see renewal in congregational hymnody. Nevertheless, the Western vs. indigenous Turkish music debate reduces complex historical, musical, and liturgical issues into a divisive binarism. Using hymns sung in corporate worship in Turkey as a source, I will analyze here the quantity of musical localization in Turkish Protestant worship seeking to present musical localization as a lens to examine Turkish Christian liturgical identity.
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Baruah, Sudarshana. „Indian Devotional Music: Its Relation with the Religious Concept of People and Iconography“. BL College Journal 4, Nr. 2 (01.12.2022): 129–34. http://dx.doi.org/10.62106/blc2022v4i2e5.

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Religion is the driving force behind the evolution of society. Human religious believers have interpreted music as the utterances of gods and lauded it as the purest expression of spirituality. Throughout the majority of human history, religious texts have been sung rather than written, and religious behavior has been expressed through prayer or devotional melodies or music in almost all religious traditions. The values, functions, and genres of religious music are culturally diverse and varied. Religious musical forms can transcend cultural barriers. Some religions, such as Buddhism, use music to prepare the mind for meditation by calming and focusing it. In India, kirtan, also known as Shikh religious music, facilitates connection with one another and with God. Similarly, Vedic hymns in Hinduism were musical. By performing bhajans, devotional songs, Sanskrit mantras, etc. Hindus offer prayers to God. Sufi music, Qawalli, etc., are chanted during prayers in the Muslim faith. In addition, it teaches religious teachings. Religious songs of any faith are characterized as a source of strength and a means of relieving pain, thereby improving one’s mood. The iconography of Indian music contains numerous elements that represent the human religion, culture, traditions, and way of life, thinking, values, customs, costumes, rituals, and behavior throughout the centuries through visual art and symbolism like sculpture, architecture, idol of god etc. Therefore, iconography is a specialized discipline of study that examines images of gods. Indian music and dance are the culmination of one of the world’s finest civilizations’ evolution. The Iconography of Indian music entails the study of figures, images, deities, and pictorial representations of the devotional music’s most prominent deities of music.
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Demmrich, Sarah. „Music as a trigger of religious experience: What role does culture play?“ Psychology of Music 48, Nr. 1 (27.06.2018): 35–49. http://dx.doi.org/10.1177/0305735618779681.

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Music and religion are linked in many ways. For example, music can trigger religious experiences, which has been a topic since the beginnings of the study of the psychology of religion. Whether this musical effect is culture-dependent, a pure neuropsychological phenomenon, or a combination of both remains empirically unanswered. This cross-cultural experiment among n = 84 Turks and n = 63 Germans shows that religious music can trigger religious experience but this is, at least partially, a culture-dependent experience. Moreover, certain kinds of religious music can fail to trigger a religious experience independent of culture, which can also underpin a neuropsychological effect of musical features on religious experience. Religious experience during music is strongly predicted by positive emotions that are felt during the musical experience. Future studies should be more interdisciplinary, focusing on the effect of certain musical features on the religious experience of individuals from different cultural backgrounds.
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Le Roux, Frances Hendriëhetta, und Christof Sauer. „Integration of Spirituality, Music and Emotions in Health Care“. Music and Medicine 8, Nr. 4 (26.10.2016): 162. http://dx.doi.org/10.47513/mmd.v8i4.424.

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As recent studies indicate a correlation between patients’ spirituality and health outcomes, medical care is increasingly focusing on treatment of the whole person. Through spirituality, individuals attempt to perceive their world, themselves, and their needs in terms of their connection to the self, others, nature and God. One cannot provide whole-person care without taking into consideration the relevant spiritual needs of patients. Music is capable of affecting spiritual aspects with emotional needs in health care and can contribute to the ‘wholeness’ perception of a person. The purpose of this review was to explore the definitions of spirituality, their value in healthcare, while additionally viewing the difference between religion and spirituality, and the link between emotions and spirituality and music’s effect on their potential role in healthcare. Keywords: spirituality, healthcare, music, emotionsSpanishIntegración de la espiritualidad: música , emoción y cuidado de la salud Frances Hendriëhetta Le Roux, Christof SauerRecientes estudios indican correlación entre la espiritualidad de los pacientes y los resultados en la salud, por esto la asistencia médica esta focalizándose de manera creciente en el tratamiento de la persona completa. A través de la espiritualidad los individuos intentan percibir el mundo, a ellos mismos, y a su necesidad de conexión con ellos, con otros, con la naturaleza y con Dios. No podemos proveer asistencia integral de la persona sin considerar las necesidades espirituales de los pacientes. En la atención de salud la música es capaz de acceder a estos aspectos espirituales junto a las necesidades emocionales de los pacientes y contribuir a la percepción de integridad de la persona. El propósito de esta revisión es explorar las definiciones de espiritualidad, su valor en la atención de la salud, mientras observamos la diferencia entre religión y espiritualidad, la conexión entre emociones y espiritualidad y el efecto de la música en su rol en el cuidado de la salud. Palabras clave: espiritualidad, cuidado de la salud, música, emociones GermanIntergration von Spiritualität, Musik und Emotionen in die GesundheitsfürsorgeFrances Hendriëhetta Le Roux, Christof Sauer Da neuere Studien eine Korrelation zwischen der Spiritualität und dem Gesundheitsverlauf von Patienten anzeigen, beschäftigt sich die medizinische Versorgung zunehmend mit der Behandlung des Menschen als Ganzes. Über Spiritualität versuchen einzelne Menschen ihre Welt, sich selbst und ihre Bedürfnisse in Bezug auf ihre Verbindung zu sich selbst, zu anderen, zu Natur und Gott wahrzunehmen. Man kann einen Menschen als Ganzes nicht betreuen, ohne seine relevanten spirituellen Bedürfnisse zu berücksichtigen. Musik kann die spirituellen Aspekte mit emotionalen Bedürfnissen in der Gesundheitsfürsorge beeinflussen und zu der ganzheitlichen Betrachtung einer Person beitragen. Der Zweck dieses Review war es, Definitionen von Spiritualität, deren Wert im Gesundheitswesen zu erforschen, und zusätzlich die Unterscheidung von Religion und Spiritualität, die Verbindung zwischen Emotionen und Spiritualität, und die Wirkung von Musik auf deren mögliche Rollen in der Gesundheitspflege zu sichten. Keywords: Spiritualität, Gesundheitsfürsorge, Musik, Emotionen ItalianIntegrazione della Spiritualità, Musica ed Emozioni nell’Assistenza Sanitaria Frances Hendriëhetta Le Roux, Christof SauerPoiche recenti studi indicano una correlazione tra spiritualità e I risultati di salute dei pazienti, l’assistenza medica è sempre più concentrata sul trattamento di tutta la persona. Attraverso la spiritualità gli individui cercano di percepire il loro mondo, se stessi e le loro esigenze in termini di connessione con il sé, degli altri, la natura e Dio. Non si puó fornire una cura su tutta la persona senza prendere in considerazione le esigenze spirituali dei pazienti. La musica è in grado di influenzare gli aspetti spirituali con I bisogni emotive nell’asssistenza sanitaria e può contribuire alla percezione “dell’interezza“ di una persona. Lo scopo di questa revisione è stato quello di esplorare le definizioni di spiritualità, il loro valore nel settore sanitario, mentre in aggiunta la visualizzazione della differenza tra la religione e la spiritualità, e il legame tra le emozioni e la spiritualità e l’effetto della musica nel settore sanitario. Parole Chiave: spiritualità, assistenza sanitaria, musica, emozioniChinese融合心靈、音樂與情緒於健康照護最近的研究顯示病人的心靈狀態與健康狀態有關，醫療上也越來越重視全人的健康照護。通過心靈層面，個人試圖去感知他們的世界、自我以及內在的需求，包括他們如何與自我、他人、大自然和神靈產生連結。若我們不考慮病人相關的心靈需求，就沒辦法提供全人的照護。音樂能夠影響健康照護當中心靈層面的情緒需求，並有助於一個人的整體性。本篇回顧的目的在於探討心靈的定義以及在健康照護中的價值，同時看到宗教與靈性的差異，以及情緒與靈性之間的連結，並闡述音樂在健康照護中可能帶來的效果Japanese ヘルスケアにおけるスピリチュアリティ、音楽と感情の統合Frances Hendriëhetta Le Roux, Christof Sauer最近の研究では、患者のスピリチュアリティと健康状態の相関性が指摘され、医療的ケアにおいても全人的な治療が注目され始めている。スピリチュアリティを通して、個人は自己の世界、自分自身やニーズを、自己や他者、自然や神との関わりを通じて認識しようとする。全人的医療を提供するためには、患者のスピリチュアルなニーズを理解することが不可欠なのである。音楽は、ヘルスケアにおいて感情面のニーズに関係するスピリチュアルな要素を援助することができる。そして患者の全人的理解に対して貢献する。このレビューの目的は、ヘルスケアにおけるスピリチュアリティの定義とその価値を探求し、宗教とスピリチュアリティの違い、そして感情とスピリチュアリティの繋がりを検証する。さらに、ヘルスケアにおける音楽の効果的役割について考察する。 キーワード:スピリチュアリティ、ヘルスケア、音楽、感情 Korean건강관리에 영성성(spirituality), 음악, 감정의 통합Frances Hendriëhetta Le Roux, Christof Sauer 최근 연구들이 환자의 정신성과 건강의 상관관계를 보여주는 것처럼, 의학적 치료는 점차 그 사람 전체를 치료하는 것에 초점을 맞추고 있다. 정신성을 통해서, 사람들은 자아, 타인, 자연, 하느님과의 연관관계 등과 관련해서 자신의 세계, 자기 자신, 그리고 자신의 필요를 인식하려고 한다. 환자들의 관련 정신적 필요를 고려하지 않고 전인적 치료를 제공할 수는 없다. 음악은 건강관리에서 정서적 필요와 함께 정신적 측면에 영향을 끼칠 수 있으며, 어떤 사람의 “전체(wholeness)” 인식에 기여할 수 있다. 이번 검토의 목적은 종교와 정신성의 차이점, 정서와 정신성의 연관관계, 그리고 그것들이 건강관리에서 할 수 있는 역할에 음악이 끼치는 영향 등을 추가로 검토하면서 정신성의 정의, 건강관리에서 그것들이 갖는 가치 등을 살펴보는 것이다. 키워드: 정신성, 건강관리, 음악, 정서
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Aquila, Dominic A. „Music as a Liberal Art: The Poetry of the Universe“. Religions 13, Nr. 9 (29.08.2022): 792. http://dx.doi.org/10.3390/rel13090792.

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This article explores the place of music in the classical liberal arts curriculum, which consists of the trivium (the arts of language) and the quadrivium (the arts of number). Music is part of the quadrivial disciplines and studied as applied arithmetic. However, as argued in this article, it is also a bridge to the discipline of rhetoric, which is part of the trivium. The article begins with a brief review of St. Augustine’s De Musica, the first in a planned (but unrealized) series of dialogs on the value of the classical liberal arts to the emerging Christian culture of Antiquity. It proceeds to a discussion of music and its relation to the contemporary American liberal arts curriculum. Two case studies follow that address the ontological reality of music as a time-bound medium, and attempts to mute this reality in the service of creating a sense of timelessness. Thus subsuming the temporal into the Divine–what Augustine called “a poem of the universe”. The first case study is Dante Alighieri’s Paradiso, which is a journey through the heavens with each planet representing one of the seven liberal arts as preparatory to the Beatific Vision. The second case study focuses on J.S. Bach’s attempts to create a sense of timelessness in the St. Matthew Passion by the use of musical forms and musical rhetorical devices that tend to abolish time. The article concludes with suggestions on how teachers can use 20th and 21st-century movements in Western art music as pathways to appreciate music’s pivotal role in the Catholic liberal arts tradition.
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Dissertationen zum Thema "Musica e Religione"

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Mugenyi, Moses. „Fiascos Religion : -en studie om religionen i Lupe Fiascos Musik“. Thesis, Uppsala universitet, Religionssociologi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260981.

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Religion and music are two cultural entities that have been closely related over time (Bossius, Harris & Häger 2010:1). To investigate this close relationship the author of this paper has chosen to use two theories. The first is the secularization theory as it is presented by James A. Beckford in his book Social Theory & Religion (2003), which expresses the idea that religion will become less visible in a society as it evolves and progresses. The second theory is based on music and is brought forth by Theodor A. Adorno in his paper On Popular Music (2008); it states that popular music is highly standardized and inevitably inferior to “Serious” music. The two theories will be used in researching and trying to understand how religion and music are interrelated to each other in Fiasco’s music and to investigate if the artist uses private or public religion in his music, furthermore the standardization theory will be used to see if his music and message are standardized. The aim of this paper is use the aforementioned theories by James A. Beckford and Theodor A. Adorno and see how they work in cohesion with Lupe Fiasco.The conclusion of this paper is that religion is influential and relevant in Lupe Fiascos music. In all his songs that have been released on CD: s, a total of 54 songs; 42 of these songs contained a religious word or phrase. This shows that the secularization theory, which stated that religion, would diminish and disappear from the public sphere the more modern a society got is not the case within the investigated artist and his music. The artists’ use of religion was a mix between public and private religion depending on the theme and message of the song. The second theory, which stated that popular music is standardized, could be verified, the message in Lupe Fiascos music is not new and neither it the music that he makes use of, even though the artist tries to give it a new sound. All music is standardized within its own genre and therefore will sound similar/standardized for one who is uninitiated within the different genres. Keywords: popular music, Religion, Lupe Fiasco, secularization, standardization, rap music.
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Walker, Seth. „Musical Spirituality: The Transformative Power of Popular Music“. Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1050.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Humanities
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Engelhardt, Jeffers. „Religious and social change in Estonian musical life and music scholarship:“. Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16014.

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Some of the most noteworthy changes to have taken place in Estonian musical life and music scholarship since the late 1980s have centered around Christian musics.1 Religious song festivals organized by the Estonian Evangelical Lutheran Church, the Orthodox Church of Estonia, and the Union of Free Evangelical and Baptist Churches of Estonia have re-established a tradition of public amateur music-making. In the Estonian traditional (pärimusmuusika), jazz, and improvised music scenes, musicians have embraced folk chorales and church hymnody to create their own niche in the Estonian music industry. Newly restored churches have become one of the most important venues for concerts of choral music, Estonian traditional music, jazz and improvised musics, symphonic and chamber music, and paraliturgical and evangelistic musics. And projects to revise or publish new hymnals and service books are everywhere afoot.
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Dalzell, Victoria Marie. „Freedom, Margins and Music| Musical Discourses of Tharu Ethnicity in Nepal“. Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731835.

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The Tharu are reportedly the fourth largest minority group in Nepal. Yet despite their numerical strength, their social experience in modern Nepal largely consists of marginalization. A culturally and linguistically diverse people indigenous to the flat, southern Terai region of Nepal, the Tharu have claimed an ethnic group identity in the past sixty years in light of their shared geographic location and state exploitation, as well as the rise of ethnic politics in Nepal. I examine how performance practices and musical experiences are central to the Tharu’s group identity formation. First, I examine how the Tharu combat their social exploitation largely through musical means. I focus on the role of sociomusical practices in community ritual, its transformation through folkloricization, and extension as tools for activism. The cultural significance of these practices shift as the Tharu come into contact not only with Nepal’s changing political, social and economic scenes, but also paradigms of global indigenism and human rights. However, even as a marginalized people, the Tharu have their own internal politics. Second, I examine how musical practices are locations for productive friction within Tharu communities. Musical performances constitute intense community negotiation and contestation concerning Tharu womanhood and religious identity, and are places where the Tharu produce situated knowledge about development and modernity. While not ignoring political, historical, and global frameworks, my focus on sociomusical practices brings attention to how an ethnic identity is generated and embodied on a local level.

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Massol, James. „Reading religion a music and text approach to religious Themes tn Tosca and Suor Angelica /“. Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1196129960.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Mary Sue Morrow. Title from electronic thesis title page (viewed Feb. 8, 2008). Includes abstract. Keywords: Puccini; Opera; Religion; Tosca; Suor Angelica. Includes bibliographical references.
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Wickham, Anna. „That Old Time Religion: The Influence of West and Central African Religious Culture on the Music of the Azusa Street Revival“. Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/323242.

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The Azusa Street Revival was a movement started in 1906 by a small group of black individuals at a prayer meeting in Los Angeles, California. The revival is largely considered the beginning of the Pentecostal movement. This paper investigates the relationship between the worship practices of the Azusa Street Revival and the musical and religious traditions of the West and Central African peoples who were the ancestors of some of the most prominent and influential participants in the movement. These practices, which include spirit possession, physical movement and rhythm, musical collaboration, and indeterminate times of worship, seemingly made their way from Africa into the daily lives of African American slaves, where they were adopted by participants at the American camp meetings of the early nineteenth century. From there, these West and Central African musical traditions became instituted in the holiness movement, the precursor to the Azusa Street Revival.
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Novo, José Alessandro Dantas Dias. „Educação musical do espaço religioso: um estudo sobre a formação musical na Primeira Igreja Presbiteriana de João Pessoa – Paraíba“. Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8422.

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This study deals with a master's research in the music education area in the subject field of music education and religion. The overall objective of the research is to understand the ways in which the musical training of the individuals surveyed is concretized at the First Presbyterian Church of João Pessoa - Paraiba. The chosen method was the case study in a qualitative approach, using as techniques for the collection of data: document sources, interviews and observations. The research has as theoretical basis the conception of musical practices as social practices supported in the music sociology (KRAMER, 2000; SOUZA, 2000, 2014, etc). The Church, locus of this investigation, has four musical groups: the Youth Choir, Camerata, the Coral Society and Band. From a total of eighty-one participants in these groups, twelve people were interviewed . The results reveal that the songs practices that take place in the Church offer different possibilities and strategies of musical learning, which are established starting from the relationship between the group members. It is a musical learning that is intertwined with the other spaces, such as family, school, friends, Internet and media. Regarding the value assigned to the musical experience, in the interviewees reports three points emerged : strengthening of interpersonal relations among group participants; consider that musical practices contribute to a rapprochement with the divine; the pleasure of communicating with yourself and with one another through music.
O presente estudo versa sobre uma pesquisa de mestrado na área de educação musical no campo temático da educação musical e religiosidade. O objetivo geral da pesquisa consiste em compreender as formas pelas quais a formação musical dos sujeitos pesquisados se concretiza na Primeira Igreja Presbiteriana de João Pessoa - Paraíba. O método escolhido foi o estudo de caso em uma abordagem qualitativa, utilizando como técnicas para o levantamento dos dados: fonte documental, entrevistas e observações. A pesquisa tem como fundamentação teórica a concepção de práticas musicais como práticas sociais apoiadas na sociologia da música (KRAMER, 2000; SOUZA, 2000, 2014, entre outros). A Igreja, locus dessa investigação, tem quatro grupos musicais: o Coral Jovem, a Camerata, a Sociedade Coral e a Banda. De um total de oitenta e um participantes desses grupos, foram entrevistados doze pessoas. Os resultados revelam que as práticas musicas que acontecem na Igreja oferecem diferentes possibilidades e estratégias de aprendizagens musicais, que se estabelecem a partir das relações entre os integrantes dos grupos. É uma aprendizagem musical que está imbricada com os outros espaços, como a família, escola, amigos, Internet e as mídias. Em relação ao valor atribuído à experiência musical, nos relatos dos sujeitos entrevistados emergiram três pontos: fortalecimento das relações interpessoais entre os participantes dos grupos; considerar que as práticas musicais contribuem para uma aproximação com o divino; o prazer de se comunicar consigo e com o outro através da música.
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Vasconcelos, Jorge Luiz Ribeiro de. „Axé, orixá, xirê e música = estudo da música e performance no candomblé queto na Baixada Santista“. [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284924.

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Orientador: Jose Roberto Zan
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Através deste estudo pretendo trazer à discussão alguns elementos da relação entre música e ritual no candomblé queto. Tal estudo foi centrado na manifestação desta religião em casas de culto da Baixada Santista, principalmente no Ilé Asè Alaketú Omo Oyá Asè Osun, localizado na cidade de São Vicente. O enfoque na relação citada foi principalmente efetuado na maneira como ela se apresenta nas festas públicas desta religião afro-brasileira, cuja teologia se baseia nos conceitos de orixá - suas divindades; e de axé - seu fundamento principal, princípio dinâmico que estrutura a religião. Para tanto, uma das bases teóricas é a etnomusicologia e, desdobrando as relações entre antropologia e etnografia com o enfoque musicológico, propõe-se que esta base se articule com a antropologia interpretativista de Clifford Geertz, encaminhando-se para uma etnomusicologia interpretativista em que a base é a transcrição densa. Além disso, busca-se suporte na antropologia da performance para estudar estas manifestações culturais em que ritual, expressões sonoras e musicais articulam-se com narrativas míticas, gerando vívidas exteriorizações de conteúdos cujos significados são vividos religiosamente pelos devotos. Com base nestes aportes pode-se concluir que os sons são utilizados no candomblé queto como um conjunto de elementos significativos que se articulam em discurso no fluxo da performance, incorporando sonoridades múltiplas de forma integrada à totalidade ritual e mítica. Dessa maneira, busco contribuir para demonstração da existência de uma linguagem de sonoridades, através da descrição de algumas formas em que ela se efetua em discurso ritual, com base na proposta de Cardoso (2006) de estudar a música ritual como linguagem
Abstract: By means of this study, I intent to bring to discussion some elements found in the interaction between music and ritual in the afro-Brazilian religion called candomblé queto. The study was carried focusing forms of such religiosity in cult places in the region of São Paulo state called Baixada Santista, mainly in the religious house Ilè Asè Alaketú Omo Oyá Asè Osun, in the city of São Vicente. The approach to the relations of music and religiosity was mainly carried on the way they appear in the public ceremonies of a long cycle of "parties" that make part of the religion, whose theology is based on the concepts of "orixá" - their deities - and of "axé" - the fundamental and dynamic principle that structures the religion. For this, one of the basic theoretical lines is ethnomusicology. Unfolding the relation between Anthropology and Ethnography with the musicological approach, we propose an articulation of this basis with Clifford Geertz Interpretative Anthropology in such a way we go for an Interpretative Ethnomusicology, whose basis is the thick transcription. One more support to study these cultural manifestations was found in the Anthropology of Performance, for their traces in which ritual, sound and musical expressions are articulated with mythical narratives, showing vivid contents whose meanings are lived religiously by the believers, called "povo-de-santo". Based on these approaches we can conclude that sounds are used in the candomblé queto as a set of meaning elements that articulate themselves in the flow of discourse during performances, embodying multiple sonorities in an integrated way to the ritual and mythic totality. This is an attempt to contribute for the demonstration of the existence of an articulate language of multiple sounds in that form of religion, by the description of forms of realizations of a "musical grammar" in ritual discourse, based on the proposals of Cardoso (2006) when studding ritual music as a language
Doutorado
Doutor em Música
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McCabe, Juhnke Austin. „Music and the Mennonite Ethnic Imagination“. The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.

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Wise, Raymond. „Defining African American gospel music by tracing its historical and musical development from 1900 to 2000“. Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243519734.

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Bücher zum Thema "Musica e Religione"

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Venturelli, Domenico. Nobiltà e sofferenza: Musica, religione, filosofia in F. Nietzsche. Genova: Il melangolo, 2006.

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Fossi, Giordano. La psicoanalisi applicata: Arte, letteratura, musica, cinema, storia e religione. Torino: UTET, 1994.

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Satragni, Giangiorgio. Il Parsifal di Wagner: Testo, musica, teologia. Torino: EDT, 2017.

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Pirner, Manfred L. Musik und Religion in der Schule: Historisch-systematische Studien in religions- und musikpädagogischer Perspektive. Göttingen: Vandenhoeck & Rup., 1999.

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Garrett, Greg. U2 We get to carry each other: The Gospel according to U2. Louisville, KY: Westminster John Knox Press, 2009.

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Piro, Pietro. Le prime luci dell'alba: Materiali di storia delle religioni. Palermo (PA) Sicilia: Navarra Editore, 2009.

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Schroeter-Wittke, Harald. Musik in Religion - Religion in Musik. Jena: Garamond, 2013.

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Body, Jack. Sex, politics, religion- and music. Palmerston North, New Zealand: Massey University Music, 1999.

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Lara, Jaime. Colloquium: Music, worship, arts. New Haven, CT: Yale Institute of Sacred Music, 2007.

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Spinks, Bryan D. Colloquium: Music, worship, arts. New Haven, CT: Yale Institute of Sacred Music, 2005.

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Buchteile zum Thema "Musica e Religione"

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Puri, Bindu. „Religion and Religions: Making Space for Modesty and Music“. In Re-thinking Religious Pluralism, 171–77. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9540-0_15.

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Theorell, Töres. „Music in Religion“. In SpringerBriefs in Psychology, 29–32. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8920-2_4.

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de Rosen, Laurence. „Music and Religion“. In Encyclopedia of Psychology and Religion, 1537–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_447.

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Rosen, Laurence. „Music and Religion“. In Encyclopedia of Psychology and Religion, 1156–60. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_447.

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Pettis, Jeffrey B., Mark Popovsky, Annette Peterson, Lee W. Bailey, Fredrica R. Halligan, Daniel J. Gaztambide, Regina A. Fredrickson et al. „Music and Religion“. In Encyclopedia of Psychology and Religion, 588–91. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_447.

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Beck, Guy L. „Music“. In Hinduism and Tribal Religions, 1009–19. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_1419.

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Brown, David, und Gavin Hopps. „Spilt Religion“. In The Extravagance of Music, 229–95. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91818-1_6.

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Bowles, Meg. „Music Thanatology“. In Encyclopedia of Psychology and Religion, 1541–42. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_819.

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Bowles, Meg. „Music Thanatology“. In Encyclopedia of Psychology and Religion, 1160–62. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_819.

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Pettis, Jeffrey B., Mark Popovsky, Annette Peterson, Lee W. Bailey, Fredrica R. Halligan, Daniel J. Gaztambide, Regina A. Fredrickson et al. „Music Thanatology“. In Encyclopedia of Psychology and Religion, 591–93. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_819.

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Konferenzberichte zum Thema "Musica e Religione"

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Ghilas, Victor. „Musical Chisinau. History Pages (1812-1918)“. In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.01.

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The article subjects to observation some coordinates of Chisinau’s musical life over the course of about a hundred years after the annexation of Bessarabia to the Russian Empire. The sources that served as documentary support for achieving this goal are: historical, literary, and scientific writings, sketches, notes, travel memoirs of some people, passing through our lands, testimonies little known or more difficult to reach the reader. From the synthesis of the most eloquent data and information, inserted in the reference sources, we try to outline a general picture of music in the administrative center of Moldavia on the left bank of the Prut during the years 1812- 1918. The view, resulting from the reconstruction of the musical landscape in the researched urban environment, offers a rich palette of events. Following the chronology of the presence of music in society, we highlight its main forms of expression, including folk music, music of boyar salons (fashionable), religious music, military music, concert activities, musical-theatrical performances. Through the prism of the musical components recorded within the specified time interval, we identify different styles, influences, artistic tastes, as well as the share of music in the urban society. We also draw attention to the social functions that music fulfilled in the Chisinau cultural environment at that time. The undertaken radiography leads us to the finding that European music is beginning to gain more and more ground for assertion in the cultural life of Chisinau with a wider openness to Western civilization and the assimilation of new artistic forms of manifestation.
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Blount, PJ, und Jake X. Fussell. „Musical Counter Narratives: Space, Skepticism, and Religion in American Music“. In 52nd Aerospace Sciences Meeting. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2014. http://dx.doi.org/10.2514/6.2014-0670.

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Barber-Kersovan, Alenka. „Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.
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Narynskaia, Anna Antonovna. „Non-traditional religious organizations in the modern society of the Republic of Korea“. In All-Russian Scientific Conference. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99342.

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The article is devoted to the situation with the activities of different sectarian organizations in the Republic of Korea. There is a huge amount of information in our world that is not always possible to be objectively analyzed. It helps some sectarian organizations to promote their principles and ideas. This is especially true for the Republic of Korea, where the religious worldview is one of the most important components of the national mentality. Freedom of religion is highly valued in the country, sectarian ideas have the right to spread, and sects are practically not regulated by the state. According to rough estimates of Korean sociologists, today there are about 300 non-traditional religious sects in the Republic of Korea. These organizations disseminate their sectarian propaganda through music, books, marches, leaflets, active recruitment and the Internet.
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Mirea, Ruxandra. „Marks of Music Reception through Moral Dimension“. In Religion & Society: Agreements & Controversies. EDIS - Publishing Institution of the University of Zilina, Slovak Republic, 2016. http://dx.doi.org/10.18638/dialogo.2016.3.1.2.

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Mirea, Ruxandra. „Rediscovering Musical Bessarabia, in the Lexicon of Musicologist Mariana Popescu“. In Religion & Society: Agreements & Controversies. EDIS - Publishing Institution of the University of Zilina, Slovak Republic, 2016. http://dx.doi.org/10.18638/dialogo.2016.3.1.8.

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Agafita, Mihail. „Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features“. In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.
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Haiawi, Maryam. „Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.55.

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The present study deals with interconfessional exchange of oratorios in German-speaking countries during the 18th century. In doing so, it pursues the goal of focusing on the question of the denominational or non-denominational nature of the sacred music genre, a question that has so far been insufficiently discussed in musicological and literary research. It analyses selected oratorios between 1715 and 1781 which were written at important contemporary musical locations and were received interdenominationally (Hamburg, Leipzig, Brunswick, Catholic imperial court of Vienna, Catholic Saxon court at Dresden). The study comes to the conclusion that the oratorio of the 18th century was not defined solely by its denominational orientation, but influenced by a number of other factors reflecting the intellectual-historical upheavals of the Age of Enlightenment: contemporary musical aesthetics, socio-cultural developments (middle-class concert business), and fundamental religious-historical dynamics that led to a distancing from dogma and to a change in piety practice.
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Carvalho, Fabio, Flávio Luiz Schiavoni und João Araújo. „Per(sino)ficação“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10456.

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The bell’s culture is a secular tradition strongly linked to the religious and social activities of the old Brazilian’s villages. In São João del-Rei, where the singular bell tradition composes the soundscape of the city, the bell’s ringing created from different rhythmic and timbral patterns, establish a language capable of transmitting varied types of messages to the local population. In this way, the social function of these ringing, added to real or legendary facts related to the bell’s culture, were able to produce affections and to constitute a strong relation with the identity of the community. The link of this community with the bells, therefore transcends the man-object relationship, tending to an interpersonal relationship practically. Thus, to emphasize this connection in an artistic way, it is proposed the installation called: PER (SINO) FICAÇÂO. This consists of an environment where users would have their physical attributes collected through the use of computer vision. From the interlocking of these data with timbral attributes of the bells, visitors would be able to sound like these, through mapped bodily attributes capable of performing syntheses based on original samples of the bells. Thus the inverse sense of the personification of the bell is realized, producing the human “bellification”.
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Galaicu, Violina. „Byzantine religious chanting between oral and written tradition“. In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.

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Those who scrutinized the historical development of Byzantine liturgical chanting could notice the late codification of this music. With the transition to the written tradition, a clear tendency to preserve orality in the new hypostasis emerged. Proto-Byzantine chanting circulated orally, this being conditioned by the original orality of the evangelical tradition. When the Eastern promoters of Christian liturgical chanting felt the need to codify the cultic repertoire, they resorted to the Ekphonetic notation, and later to the Diastematic one. Ekphonetic notation is a rudimentary notation, it has a mnemonic function, meaning the purpose of reminding the performer of a certain melodic formula that he knew before. The Diastematic notation, although it fixes several details of the melodic thread, also leaves enough room for interpretive ambiguity and can only be deciphered satisfactorily by those familiar with traditional practice. The attempt to explain the reluctance of the promoters of Byzantine religious music towards written codification will lead us to the deep roots of this art, as well as to its liturgical functionality.
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Berichte der Organisationen zum Thema "Musica e Religione"

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Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, Januar 2023. http://dx.doi.org/10.19088/creid.2023.001.

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This paper discusses the historical context and mythic framework of the Kakai religion. While some information regarding Kakai theological views and beliefs may be known to outsiders, many facets of their religious life, customs and traditions remain undisclosed. Much secrecy surrounds this religion, and non-believers are not encouraged to engage in or witness most Kakai rites. Geopolitical instability in the Kurdistan region also makes access difficult. Throughout this paper we will look at the relationship between Kakai beliefs and music (tanburo), and how the tanbur (a sacred lute) is not merely a musical instrument but is seen as a symbol of Kakai identity, with the music preserving language and legend.
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Pedro, Mombiedro Sandoval. ATLAS. De musica spirituali. Ediciones de la Universidad de Castilla-La Mancha, Dezember 2021. http://dx.doi.org/10.18239/caleidoscopio_2021.18.01.

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