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Books on the topic 'Musica e Religione'

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Published: 26 July 2024

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1

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

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2

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

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3

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

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4

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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5

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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6

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

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7

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

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8

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

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9

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

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10

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

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11

Peacocke, A. R. The music of creation, with CD. Minneapolis: Fortress Press, 2005.

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12

Witulski, Christopher. Focus: Music and Religion of Morocco. Other titles: Music and religion of MoroccoDescription: New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315106014.

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13

Bennett, Clinton, and Rupert Till. Pop cult: Religion in popular music. New York: Continuum, 2010.

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14

Rovner, Akradiĭ Borisovich. Shkola sostoi︠a︡niĭ. [Moskva]: Izd-vo "Mif,", 1999.

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15

Lidia, Guzy, ed. Religion and music: Proceedings of the interdisciplinary workshop at the Institute for Scientific Studies of Religions, Freie Universität Berlin, May 2006. Berlin: Weissensee Verlag, 2008.

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16

Campling, Christopher R. The food of love: Reflections on music and faith. London: SCM Press, 1997.

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17

Guzy, Lidia. Marginalised music: Music, religion and politics from Western Odisha, India. Zürich: Lit, 2013.

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18

1948-, Beck Guy L., ed. Sacred sound: Experiencing music in world religions. Waterloo, Ont: Wilfrid Laurier University Press, 2006.

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19

Nieden, Hans-Jörg. Komponist und Religion: Kulturhistorische Porträts. Berlin: Lit, 2019.

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20

1949-, Sullivan Lawrence Eugene, ed. Enchanting powers: Music in the world's religions. Cambridge, Mass: Distributed by Harvard University Press for the Harvard University Center for the Study of World Religions, 1997.

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21

Spencer, Jon Michael. Protest & praise: Sacred music of Black religion. Minneapolis: Fortress Press, 1990.

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22

Kaiser, Jochen. Religiöses Erleben durch gottesdienstliche Musik: Eine empirisch-rekonstruktive Studie. Göttingen: Vandenhoeck & Ruprecht, 2012.

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23

Musica e religione. Roma: Squilibri, 2006.

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24

La voce degli dèi: Musica e religione nel rito giapponese del kagura. Bologna: Ut Orpheus, 2000.

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25

Brown, Frank Burch. Music. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0012.

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Music has often been regarded as the most directly emotional of the arts and the art most intimately involved with religious and spiritual life. In the endeavor to understand music's relation to emotion and religion, a variety of approaches and disciplines are relevant. There are, for example, scientific and psychological studies that can yield insight into the character of musical and emotional response, and of music's access to the affective life. Thus, multiple disciplines are pertinent, from musicology (including ethnomusicology) and history to philosophy, psychology, and various branches of religious studies, particularly theology and comparative religions. This essay deals with historical perspectives, major theories, and current issues regarding music, emotion, and religion. It begins by considering classic and exceptionally enduring images and ideas of music, including the ancient Greek myth of Orpheus. It then considers musical ethics and metaphysics in the West from antiquity through the Renaissance. The essay also examines remaining issues and unresolved tensions about music, emotion, and religion.
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26

Gilmour, Michael J., ed. Call Me the Seeker. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781501383335.

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-One of very few books on religion and popular music -Covers a wide range of musical styles, from heavy metal and rap to country, jazz and Broadway musicals -The essays are written by academics and informed by their enthusiasm for the music Many books have explored the relationship between religion and film, but few have yet examined the significance of religion to popular music. Call Me The Seeker steps into that gap. Michael Gilmour’s introductory essay gives a state-of-the-discipline overview of research in the area. He argues that popular songs frequently draw from and “interpret” themes found in the conceptual and linguistic worlds of the major religions and reveal underlying attitudes in those who compose and consume them. He says these “texts” deserve more serious study. The essays in the book start an on-going conversation in this area, bringing a variety of methodologies to bear on selected artists and topics. Musical styles covered range from heavy metal and rap to country, jazz, and Broadway musicals.
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27

Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.

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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups and subgroups of Sumatra—population groups and subgroups that are primarily distinguished from one another on the basis of the lingual attributes of their vocal-musical genres (including songs, ritual/religious chanting, song-dances, and intoned theatrical monologues or exchanges). This chapter provides an overview of some of the major themes that recur throughout the book—identity, rituals and ceremonies, religion, the impact of foreign contact on the performing arts, the musical instruments and pitch variability, the dances and music-dance relationships, social class, gender issues, and arts education.
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28

Bivins, Jason C. The Bible and Music. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.32.

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Against reductive understandings of textualism, this chapter argues that substantive reckoning with the Bible and music in American history reveals the text’s generativity. Examined here is the interaction between the Bible and various musical forms ranging from hymns to classical music to rap and hip hop. Interweaving broad American religious concerns with identity, community, and power, the Bible’s musical settings and expressions in history are varied and challenging. Across their range, one sees how the conjoined musical and textual imaginations of Americans force a reconsideration of embodied musical creativity, the sensorium of American religions, performance of central religious themes and preoccupations, and religious audiences and publics.
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29

Hale, Christopher Dicran. Are Western Christian Bhajans “Reverse” Mission Music? Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.10.

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This chapter contrasts the contextualization of the Hindu bhajan in Christian churches in North India with its recontextualization as a medium of worship in North America. The author discusses his engagement with “Yeshu bhakti,” a North Indian Hindu modality of devotion (bhakti) focused on Jesus Christ (Yeshu) as the “God of choice.” The band Aradhna, composed of the children of missionaries to India and Nepal, draws on its members’ multiple musical backgrounds to present a “third” religious domain, derived from Hinduism and Christianity. The chapter shows how Aradhna’s music tries to draw together different religious traditions, focusing on their points of conversion. Addressing possible problems of cultural and religious ownership in the band’s practice, the author notes that Aradhna aims to create a new religious space, a meeting place of musics and religions that is something new—and an alternative to Eurocentric Christianity.
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30

Kartomi, Margaret. South Sumatra. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0007.

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This chapter examines the historical distribution of two musico-lingual groups living in South Sumatra: the Besemah in Tanjungsakti and Kayuagung, and the Ogan-Komering Ilir (OKI) people in Burai. South Sumatra's network of rivers and tributaries—known as the Batang Hari Sembilan—has governed its peoples' travels, worldviews, adat, legends, and musical arts for well over 2,000 years. This chapter explores how South Sumatra's environment and associated cosmology, adat customs, and the history of religion and foreign contact have shaped its musico-lingual groups and music, dance, and theater more generally. It first considers the Besemah's bardic legends and their classical and social dances and ensemble music, vocal music, and solo instrumental music before turning to the Anak Dalem people. It also describes the Ogan-Komering Ilir (OKI) river basins, the dance called tari tanggai, Palembang, and musical arts with a Muslim theme or flavor in the uplands and lowlands.
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31

Sykes, Jim. The Musical Gift. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.001.0001.

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The Musical Gift tells Sri Lanka’s music history as a story of giving between humans and nonhumans, and between populations defined by ethnic and religious difference. Author Jim Sykes argues that the genres we currently recognize as Sri Lanka’s esteemed traditional musics were not originally about ethnic or religious identity but were gifts to gods intended to foster protection and/or healing. Noting that the currently assumed link between music and identity helped produce the narratives of ethnic difference that drove Sri Lanka’s civil war (1983–2009), Sykes contends that the promotion of histories of cultural interaction, exchange, and respect for difference through musical giving has a role to play in post-war reconciliation. The Musical Gift includes a study of how NGOs used music to promote reconciliation in Sri Lanka, the first ethnography of the plight of musicians during the war in the Tamil-dominated north and of Sinhala Buddhist drummers in the south, and a theorization of the relations between musical gifts and commodities. Eschewing a strict binary between the gift and identity, Sykes claims that the world’s music history is largely a story of entanglement between these paradigms. Drawing on fieldwork conducted widely across Sri Lanka over a span of eleven years, The Musical Gift brings anthropology’s canonic literature on “the gift” into music studies fully for the first time, while engaging with anthropology’s “ontological turn” and the “new materialism” in religious studies.
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32

Clothey, Fred W. Religion in India: A Historical Introduction. Taylor & Francis Group, 2007.

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33

Clothey, Fred W. Religion in India: A Historical Introduction. Taylor & Francis Group, 2007.

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34

Clothey, Fred W. Religion in India: A Historical Introduction. Taylor & Francis Group, 2007.

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35

Clothey, Fred W. Religion in India: A Historical Introduction. Taylor & Francis Group, 2006.

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36

Clothey, Fred W. Religion in India: A Historical Introduction. Taylor & Francis Group, 2007.

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37

Clothey, Fred W. Religion in India: A Historical Introduction. Taylor & Francis Group, 2004.

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38

Stowe, David W. Religion and Race in American Music. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.4.

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Religious music functions both to create group identities and to dissolve social boundaries. Historically, American music has been characterized by racial and religious crossover. While many ethnic groups have participated in constituting American music, the most seminal crossovers have occurred between African and European Americans. Jazz was shaped largely by the interactions of Jews and African Americans. Gospel music developed from the interaction of vernacular slave spirituals, Protestant hymns, and the secular blues. Christian hymns have been thoroughly indigenized by many Native American groups. Compared to Buddhists and Jews, American Hindus and Muslims have made few musical adaptations of their worship music, but their music has been widely sampled in American popular styles. In recent decades, mainline Protestant hymnals have come to reflect the deeply multicultural reality of American sacred song.
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39

McManus, Laurie. Brahms in the Priesthood of Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.001.0001.

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Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion), and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries. In particular, it focuses on the theme of the self-sacrificing musician devoted to his art, or “priest of music,” with its quasi-mystical and German Romantic implications of purity seemingly at odds with the lived reality of Brahms’s bourgeois existence. While such German Romantic notions of art religion informed the thinking on musical purity and performance, after the failed socio-political revolutions of 1848/49, and in the face of scientific developments, the very concept of musical priesthood was questioned as outmoded. Furthermore, its essential gender ambiguity, accommodating such performing mothers as Clara Schumann and Amalie Joachim, could explain why Brahms never married while leaving the composer open to speculation about his health and masculinity. Supportive critics combined elements of masculine and feminine values with a muddled rhetoric of prophets, messiahs, martyrs, and other art-religious stereotypes to account for the special status of Brahms and his circle. Detractors tended to locate these stereotypes in more modern, fin-de-siècle psychological frameworks that scrutinized the composer’s physical and mental well-being. In analyzing these receptions side by side, this book revises the accepted image of Brahms, recovering lost ambiguities in his reception. It resituates him not only in a romanticized priesthood of art but also within the cultural and gendered discourses overlooked by the absolute music paradigm.
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40

Rust, E. The Music and Dance of the World's Religions. Greenwood Publishing Group, Inc., 1996. http://dx.doi.org/10.5040/9798400688485.

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Despite the world-wide association of music and dance with religion, this is the first full-length study of the subject from a global perspective. The work consists of 3,816 references divided among 37 chapters. It covers tribal, regional, and global religions and such subjects as shamanism, liturgical dance, healing, and the relationship of music, mathematics, and mysticism. The referenced materials display such diverse approaches as analysis of music and dance, description of context, direct experience, observation, and speculation. The references address topics from such disciplines as sociology, anthropology, history, linguistics, musicology, ethnomusicology, theology, medicine, semiotics, and computer technology. Chapter 1 consists of general references to religious music and dance. The remaining 36 chapters are organized according to major geographical areas. Most chapters begin with general reference works and bibliographies, then continue with topics specific to the region or religion. This book will be of use to anyone with an interest in music, dance, religion, or culture.
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41

Sykes, Jim. The Cartography of Culture Zones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0006.

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This chapter criticizes the “cartography of culture zones”—the standard way cultural history is described in Sri Lanka—which locates traditional cultures in ethnically defined, regionally based culture zones. First, the chapter expands on the book’s previous exploration of Sinhala and Tamil musics by introducing the musics of Sri Lankan Muslims (an ethnic and religious category), Christians (a heterogenous religious category), Burghers (Eurasians), Kaffirs (Sri Lankans of African descent), and Väddas (the indigenous population). The chapter argues that scholars tend to adopt the European-derived idea that music belongs distinctly to humans with cultural histories rigidly demarcated along ethnic, religious, and regional lines. The chapter then traces histories of musical connection between Sri Lankan communities and culture zones. All the same, the chapter avoids debunking Sinhala Buddhist music as “Hindu” in character (a mistake of colonial era scholarship). The chapter respects difference while arguing for the importance in the Sri Lankan public sphere of recognizing connections.
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42

Alcorta, Candace S., and Richard Sosis. Ritual, Religion, and Violence. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0038.

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This chapter, which discusses the association between religion and violence, also addresses why suicide terrorists are willing to offer their lives for their life-affirming religions. Religious violence and “sacred pain” have long been significant components in the mythology and ritual of Western religious traditions. Religious rituals differ widely across cultures. Music intensifies the ritual experience itself, transforming the ordinary into the extraordinary and laying the foundation for creation of the sacred. Religious ritual is an efficient tool for altering group cooperation and cohesion. The evolution of religion is closely linked with the emergence of large social groups in early human populations. It can be stated that understanding both the proximate and evolutionary mechanisms which link religion and violence is an important first step in understanding, and hopefully eradicating, the religious violence that has become so prevalent in the modern world.
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43

Dueck, Jonathan, and Suzel Ana Reily, eds. The Oxford Handbook of Music and World Christianities. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.001.0001.

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The Oxford Handbook of Music and World Christianities investigates the role of music in Christian practice and history across contemporary world Christianities (including chapters focused on communities in the Americas, Europe, Africa, Asia, and Australia). Using ethnography, history, and musical analysis, it explores Christian groups as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book traces five themes: music and missions, music and religious utopias, music and conflict, music and transnational flows, and music and everyday life. The volume approaches Christian musical practices as powerful windows into the ways music, religious ideas, capital, and power circulate (and change) among places. It also pays attention to the ways Christian musical practices encompass and negotiate deeply rooted values. The volume reveals the active role music plays in maintaining and changing religious, moral, and cultural practices, narratives, and values in a long history of intercultural and transnational encounters.
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44

Reily, Suzel Ana. Local Music Making and the Liturgical Renovation in Minas Gerais. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.003.

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Suzel Reily’s essay discusses the implication of the universalist thrust of the Roman Catholic Church upon local traditions. While in Brazil local music making has been historically linked to Catholic practice, the clergy’s understandings of “the popular” derive from their interpretations of Vatican II directives along with a preoccupation with liturgical fidelity. In this setting, lay religious repertoires are being discouraged in favor of folk-like musics rooted in imagined local traditions. But alongside a clash in musical aesthetics, Reily shows how the musical practices associated with the new repertoire actually mitigate against collective singing, whilst threatening to shift local practices from the religious sphere to, at best, a secular folklorized arena.
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45

Corrigan, John. Introduction: The Study of Religion and Emotion. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0001.

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This book is about religion and emotion. It explores the emotional component in religion within the framework of a certain tradition, focusing on emotion in new religious movements. There are essays on Judaism, Christianity, Hinduism, Japanese religions, Buddhism, and Islam. The book remarks on ways that emotion has been overlooked in the study of religious traditions, and how a focus on the emotional can lead to fresh understandings about how persons create, through religion, relationships with nature, deities, and each other. It also includes essays that address the emotion component in various areas of religious life, including ritual, gender, sexuality, music, and material culture. The book shows that emotional life is profoundly shaped by religion, and that religion, in turn, directs and reinforces the construction of emotional ideologies having to do with a wide array of behaviors. In addition, it addresses specific emotions such as ecstasy, love, terror, hate, melancholy, and hope.
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46

Gill, Denise. Melancholic Genealogies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0004.

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Chapter 3 analyzes the pedagogical underpinnings of affective practice and melancholic musicking in the context of music transmission (meşk). The chapter argues that as meşk works to recreate a master’s sensibility and knowledge anew in the apprentice, master musicians inculcate feeling practices and spiritual discourses alongside music techniques in lessons with students. It is observed that students, in turn, validate their authentic experiences of melancholy through religious discourse and the memorializing of their musical lineage (meşk silsilesi). Chapter 3 also introduces the concept of bi-aurality as an approach for ethnomusicologists to develop new geographies of listening to musics outside of western canons.
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47

Weiss, Sarah. Ritual Soundings. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042294.001.0001.

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This book documents ways in which women’s performance practices engage with and localize world religions while creating opportunities for women’s agency. This study draws on the rich resources of three disciplines: ethnomusicology, gendered studies of religion, and religious music studies. It is a meta-ethnography formed by comparisons among different ethnographic case studies. The book analyses women’s performances at religious events in cultural settings spread across the world to demonstrate the pivotal roles women can play in localizing the practice of world religions, exploring moments in which performance allows women the agency to move, however momentarily, beyond culturally determined boundaries while revealing patterns that suggest unsuspected similarities in widely divergent religious contexts. With the rise of religious fundamentalism and with world politics embroiled in debate about women’s bodies and their comportment in public, ethnomusicologists and other scholars must address questions of religion, gender, and their intersection. By reading deeply into, but also across, the ethnographic detail of multiple studies, this book reveals patterns of similarity between unrelated cultures. It invites ethnomusicologists back into comparative work, offering them encouragement to think across disciplinary boundaries and suggesting that they can actively work to counter the divisive rhetoric of religious exceptionalism by revealing the many ways in which religions and cultures are similar to one another.
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48

Grande, James, and Brian H. Murray, eds. Scripture and Song in Nineteenth-Century Britain. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781501376405.

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This volume brings together new approaches to music history to reveal the interdependence of music and religion in nineteenth-century culture. As composers and performers drew inspiration from the Bible and new historical sciences called into question the historicity of Scripture, controversies raged over the performance, publication and censorship of old and new musical forms. From oratorio to opera, from parlour song to pantomime, and from hymn to broadside, nineteenth-century Britons continually encountered elements of the biblical past in song. Both elite and popular music came to play a significant role in the formation, regulation and contestation of religious and cultural identity and were used to address questions of class, nation and race, leading to the beginnings of ethnomusicology. This richly interdisciplinary volume brings together musicologists, historians, literary and art historians and theologians to reveal points of intersection between music, religion and cultural history.
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49

Häger, Andreas, ed. Religion and Popular Music. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350001596.

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50

Religion and Popular Music. Bloomsbury Academic, 2018.

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