Artigos de revistas sobre o tema "Musica e Religione"
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Lortat-Jacob, Bernard, e 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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Sarti, Tommaso. "Quel legame tra Islam e hip-hop: un urlo di rivalsa e di resistenza". MONDI MIGRANTI, n.º 1 (maio de 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, n.º 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, n.º 8 (19 de agosto de 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, n.º 12 (25 de novembro de 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, n.º 11 (20 de outubro de 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, n.º 2 (1 de dezembro de 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, n.º 1 (27 de junho de 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, e Christof Sauer. "Integration of Spirituality, Music and Emotions in Health Care". Music and Medicine 8, n.º 4 (26 de outubro de 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, n.º 9 (29 de agosto de 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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P, Divyaroobasharma. "The Raise of Tamilisai by Thevara Moover". International Research Journal of Tamil 3, S-2 (30 de abril de 2021): 98–101. http://dx.doi.org/10.34256/irjt21s219.
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As far as Tamil literatures are concerned, most of the books belonging to the Saiva Vaishnavism. It is customary to say that Saiva Vaishnava religion such as Thevaram, Thiruvasagam and Four Thousand DivyaPrabandham. The thevara songs that arose during the Saivism renaissance are seen as a repository of music. During the period when Saivism was caught up in the closeness of other religions, Thirugnanasambandar and Upper Sundarar appeared and passionately dipped the classic Tamil songs into sweet hymns to make the world aware of the true glories of Saivism. They realized that music was popular and composed the songs accordingly. Religious ideas have made music flow into hymns and touch the minds of the people. If you sing them with joy, the mind will be conscious of God. This is the purpose of the Saivism Kuravas. Music helped them to fulfill this purpose. The Tamillsai of the time is best known through the songs of Thevara. The Period of Thevara can be considered as the period of musical upheaval of Tamils. In the natural senses of pleasure, the sense of music is intimately linked to the highest.
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Soares-Quadros Júnior, João Fortunato, Oswaldo Lorenzo, Lucía Herrera e Naiara Sales Araújo Santos. "Gender and religion as factors of individual differences in musical preference". Musicae Scientiae 23, n.º 4 (14 de maio de 2018): 525–39. http://dx.doi.org/10.1177/1029864918774834.
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The goal of this article is to analyse the musical preferences of Brazilian students by considering the variables of gender and religion. Using random sampling, a class was selected from each high school year group of 10 public schools in the city of São Luís (Brazil).The total study sample consisted of 658 students: 358 females (54.4%) and 300 males (45.6%). Of these, 343 (52.1%) were Protestants and 315 (47.9%) were Catholics, and their ages ranged from 14 to 19 years ( M = 16.24 years old, SD = 1.14). For the data collection, a version of the Questionnaire on Musical Style Preferences by Lorenzo, Herrera, and Cremades (2008) was used; however, it was shortened and culturally adapted to the Brazilian context. The participants were asked to evaluate how often they listened to 19 different styles of music. The overall results indicated that the participants’ musical preferences were heavily influenced by mass media. However, ANOVA results indicated significant differences and a variety of size effects in the frequency of musical listening based on gender and religion. Females had a greater preference for styles with emotional content, dance music and music with a strong connection to mass culture, while males preferred more vigorous styles. Regarding religion, Protestants had a stronger preference for gospel music, while Catholic preferences were more diverse.
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Loos, Helmut. "The Art-Religious ideas of Mahler and Schönberg". Artistic Culture. Topical Issues, n.º 17(1) (8 de junho de 2021): 11–16. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235115.
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There is no doubt in research about the exemplary role Richard Wagner played for Gustav Mahler and Arnold Schönberg. His personality was simply too dominant in musical life and in the broader intellectual history of the time to not have a considerable influence on the two composers in their formative years. The suffering idea was the art-religious rank of music, as it had been widespread since Arthur Schopenhauer, especially in artistic circles. In contrast to Wagner’s decided atheism, which invoked Ludwig Feuerbach, Mahler and Schönberg can be diagnosed with a tendency towards modern irrationalism, asfound at the time inTheosophy and Anthroposophy. Philosophy of life and esotericism formed a favourable breeding ground for the most diverse varieties of art religion, among which emphatic art music was probably the most successful with regard to establishing itself in society. Syncretism was widespread and allowed the inclusion of heterogeneous elements, including, for example, traditional Christian religions.
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Olátúnjí, Michael Olútáò. "Modern Trends in the Islamized Music of the Traditional Yorùbá Concept, Origin, and Development". Matatu 40, n.º 1 (1 de dezembro de 2012): 447–55. http://dx.doi.org/10.1163/18757421-040001029.
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Since the advent of Islam in Yorubaland in the seventeenth century, it has become an important phenomenon in the historical development of the Yorùbá race. This is also evident in the areas of musical cultures of the people. The conception of music differs from culture to culture. It therefore takes an open mind to recognize this and accept certain human behaviours as musical. The concept of music in Islamic worldview is guided by the ethics of Islamic religion. However, the concept of music of Yorùbá people has traditional backings, which differs from that of the 'missionaries' who brought Islam to the land. This concept is responsible for the hybridization of both Islamic and Yorùbá musical cultures. Both the primary and secondary sources of information collected and codified for this essay established that the contact and the harmony between Islamic and Yorùbá musical cultures produced new musical experience: i.e. islamized Yorùbá music, which is a vehicle not only for popularizing Yorùbá music but also for promoting it.
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Xiaohuan, Huang, Arsenio Nicolas e Warakorn Seeyo. "Knowledge of the Musical Context of Yao Wedding Music in Jinxiu, Guangxi, China". Journal of Educational Issues 9, n.º 1 (8 de fevereiro de 2023): 192. http://dx.doi.org/10.5296/jei.v9i1.20694.
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This study focused on the musical context and characteristics of Yao wedding music in Jinxiu, Guangxi, China, to use a qualitative research methodology. The objective was to 1) examine the musical context of Yao’s wedding music. 2) Analyze the musical elements of the Yao wedding music. The research designed the interview and observation forms that were used throughout the interviews and observations. By key informant, the interviews were divided into three groups. The results of the study are as follows: 1) Jinxiu Yao wedding music is related with the culture, religion, language, and history of the nation. While preserving its traditional culture, it has important national cultural significance. 2) The music of Jinxiu Yao has the most intricate musical characteristics and is performed alone or in a group with percussion instruments. With the main melody in pentatonic mode and played in a flexible rhythm, the relatively fixed wedding music is simple and simple to understand. The music and ritual of the Jinxiu Yao wedding are complementary, representing the Yao’s traditional culture and preserving the transmission of music from their ancestors through the ceremony.
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Hutchings, Shabaka, e Ashish Ghadiali. "Transcendence". Soundings 79, n.º 79 (1 de novembro de 2021): 138–52. http://dx.doi.org/10.3898/soun.79.09.2021.
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An interview with musician Shabaka Hutchings, leader of the bands Sons of Kemet, The Comet is Coming and Shabaka and the Ancestors. The conversation starts with a discussion of multiplicity and unity, and the imperial habit of reducing multiplicity down to a single dominant unity, whether through imposing one religion, one view of empire, or one recognised form of art music. It looks at the different ways of viewing culture in the West and in African countries. And it discusses the relationship between jazz and classical music; improvisation; musical dialogue; South African music; transcendence through music; and musical healing.
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Raditya, Ardhie. "Membunuh Tradisi’: Adegan Musik Metal Dan Subkultur Madura". JURNAL SOSIAL Jurnal Penelitian Ilmu-Ilmu Sosial 22, n.º 1 (26 de abril de 2021): 31–42. http://dx.doi.org/10.33319/sos.v22i1.77.
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Abstract— Metal music is not 'easy listening' music. Unlike pop music which is full of "laziness", metal music is full of "explosions" from a musical aspect so, not everyone is able and willing to explore metal music. Because of its aggressive noise, metal music is flourishing in the big cities. Madura, whose society tends to be traditional, is a serious obstacle for its young people who enjoy metal music. Those who enjoy metal music are commonly referred to as "metal youths". So far, there have not been many metal studies in Madura. In fact, Madurese metal youths performed metal music scenes that were no less great than those of outsiders. Therefore, this study seeks to describe scenes of obedience to Madurese metal youths with a musical phenomenology approach, and to explain them from the perspective of subcultural studies. Based on the results of the research, it shows that the scenes of the metalization of Madurese metal youths are not only centered on the musical scene, but also, jump out of the musical scene which shakes the stability of the tradition and the political domination of their religion.
Keywords—: Metal Music Scenes; MadureseMetalYouths; Subcultural Studies.
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Hoondert, Martin. "Musical Religiosity". Temenos - Nordic Journal of Comparative Religion 51, n.º 1 (8 de junho de 2015): 123–36. http://dx.doi.org/10.33356/temenos.48554.
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In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the tonal network, and the non-referential nature of music. These qualities are linked to the definition of ‘the religious’ by John Dewey. The main conclusion is that an analogy can be shown between the musical and the religious experience: both composers and musicians challenge the listeners to explore the hidden religiosity in the performance of music.
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Solomon, Thomas. "Hardcore Muslims: Islamic Themes in Turkish Rap in Diaspora and in the Homeland". Yearbook for Traditional Music 38 (2006): 59–78. http://dx.doi.org/10.1017/s0740155800011668.
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At the beginning of the twenty-first century, Islam has, according to various estimates, between 900 million and 1.4 billion adherents in more than fifty countries, making it the second-largest religion in the world. Rap music and hip-hop youth culture have also, in their brief history, achieved global status, as the essays in Tony Mitchell's edited volume Global Noise (2001b) illustrate. It is perhaps not surprising that the long-standing world religion Islam and the more recently global musical genre of rap have intersected in various ways. Both the religion and the musical genre have spread over the globe as people and ideas move around, and people use the material and expressive resources at their disposal in practices of identity construction. It is not necessarily contradictory or paradoxical that some people may find it useful and compelling to imagine their identities using both Islam and rap music.
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Hung, Ning-Hui. "Transmission and Innovation of Kasidah (Lagu Islam) in Indonesian (1975~) Take a Case Study on Nasida Ria Kasidah Modern in Semarang". International Journal of Creative and Arts Studies 4, n.º 1 (1 de junho de 2017): 49. http://dx.doi.org/10.24821/ijcas.v4i1.1954.
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Indonesian Islamic music has its own performance occasion, musical function, music characteristic, and the style of musical performance. It has lyrics that represent direct relationship between Moslems and God in religion ceremonies. However, the musical structures are changed due to external stimulation coming along with the changes of Indonesian social structure during its development especially in 1975. Kasidah, a sort of Indonesian Islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, peculiarly performed by the music group of Qasidah Modern Nasida Ria in Semarang, Indonesia. The reason is that kasidah is more liberal than other Islamic music genres in Indonesia, especially on musical performance, usage on instruments, etc. This research sees “music” as a communication system of sound which passes through social usage and cultural contexts in Ethnomusicological perspective. The focus of discussion in on this group to explore some topics in order to comprehend the interaction between social structural development and the innovation of kasidah musical structure in Indonesia, such as the transmission and development of the group Qasidah Modern Nasida Ria, innovation of the group Qasidah Modern Nasida Ria and its music, and the musical function of modern kasidah. By which to understand the current development of kasidah in Indonesia, explore the concept and the role of the word „modern‟ plays in the development of modern kasidah, and point out the cultural syncretism and impact occured in the development of modern kasidah.
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Parncutt, Richard. "Prenatal and infant conditioning, the mother schema, and the origins of music and religion". Musicae Scientiae 13, n.º 2_suppl (setembro de 2009): 119–50. http://dx.doi.org/10.1177/1029864909013002071.
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Existing theories of the origins of music and religion fail to account directly and convincingly for their universal emotional power and behavioural costliness. The theory of prenatal origins is based on empirically observable phenomena and involves prenatal classical conditioning, postnatal operant conditioning and the adaptive value of mother-infant bonding. The human fetus can perceive sound and acceleration from gestational week 20. The most salient sounds for the fetus are internal to the mother's body and associated with vocalisation, blood circulation, impacts (footfalls), and digestion. The protomusical sensitivity of infants may be based on prenatal associations between the mother's changing physical and emotional state and concomitant changes in both hormone levels in the placental blood and prenatally audible sound/movement patterns. Protomusical aspects of motherese, play and ritual may have emerged during a multigenerational process of operational conditioning on the basis of prenatally established associations among sound, movement and emotion. The infant's multimodal cognitive representation of its mother (mother schema) begins to develop before birth and may underlie music's personal qualities, religion's supernatural agents, and the link between the two. Prenatal theory can contribute to an explanation of musical universal such as specific features of rhythm and melody and associations between music and body movement, as well as universal commonalities of musical and religious behaviour and experience such as meaning, fulfilment, and altered states of consciousness.
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition". Religions 10, n.º 2 (29 de janeiro de 2019): 85. http://dx.doi.org/10.3390/rel10020085.
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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.
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Bendikova, S. "PECULIARITIES OF MUSIC EDUCATION IN ISRAEL: TRADITIONS AND NATIONAL PRIORITIES". Aesthetics and Ethics of Pedagogical Action, n.º 29 (14 de junho de 2024): 153–66. http://dx.doi.org/10.33989/2226-4051.2024.29.306162.
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The review article presents the peculiarities of musical education in Israel, taking into account the multicultural diversity of Israeli society, and vectoriality for the preservation of cultural and educational traditions; similarities and differences in musical education in Israel and Ukraine were revealed. It is proved that the teaching of music and singing in Israel has features, among which the multicultural content, which combines elements of European classical music, Jewish musical tradition, and music of various ethnic groups living in the country; the organization of musical education in kindergartens and schools is influenced by religious canons. It has been found that musical education in Israel is considered an essential factor in the development of the individual and society as a whole, which contributes to the development of creative thinking, emotional intelligence, communication skills, and a sense of unity with different cultures of pupils and students; the system of teaching music and singing in Israel is characterized by inclusiveness - it takes into account the needs and abilities of students, including children with special needs. It was found that the content of music education in educational institutions of various levels in Israel is regulated by programs concluded by the Ministry of Education of the country, as well as resources for studying musical disciplines and musical education are offered at the state level. A comparative analysis of the peculiarities of musical education in Ukraine and Israel made it possible to conclude specific differences: Ukrainian musical education is based on the achievements of national, European, and world musical culture and educational traditions; Israel is an eastern country with its national ethnic music, and it is also a modern country with a high level of classical music and musical culture, which is a component of world culture. In Israel, social and educational processes take place taking into account religious affiliation and a corresponding attitude to art, in particular to music. Among the related features, there is a reliance on the traditions of musical culture and values, a focus on fostering tolerance, respect, and understanding of racial, ethnic, and national differences, and the ability to live with people of other cultures, languages, religions and the desire to preserve national traditionalism using musical art.
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Foley, Edward. "Music and Spirituality: A Journey into Porosity". Religions 11, n.º 10 (19 de outubro de 2020): 532. http://dx.doi.org/10.3390/rel11100532.
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Serving as an introduction to this special issue of Religion entitled “Music and Spirituality: A Journey into Porosity,” this introduction frames the following eight essays by considering the ambiguity not only of the meaning of music itself, but also of spirituality, liturgical-sacred music and other frames that attempt to examine and sometimes delimit the power of music. While taxonomies and theoretical boundaries are still useful, they need to be employed with some caution in view of the musical and spiritual realities they are attempting to describe or analyze.
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Spyra, Piotr. "Religijne inspiracje w twórczości muzyków jazzowych". Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, n.º 2 (12 de janeiro de 2017): 119. http://dx.doi.org/10.17951/l.2016.14.2.119.
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<p>The main purpose of the dissertation is an attempt to answer the question of how religion inspired and still inspires the works of jazz musicians. Some people think that jazz and religion have nothing in common or even that they are in opposition. The present article tries to show that this common way of thinking is not correct: jazz grew from religious music, and owing to its creative freedom (improvisation) it can be very a good way of expressing religious feelings. The thesis consists of two major parts. The first part contains an attempt to systematize the relationship between music and religion. Relying on the knowledge about ethnography and religion, the author discusses the subordinate role of music in relation to religion. The next chapter presents the most important philosophical and theological attempts to explain the phenomenon of music. The last chapter is devoted to the presentation of the religious roots of jazz. The second part discusses the works of selected jazz musicians in the context of different religions. Featured here are the following faiths: Christianity, Islam, Buddhism, Hinduism, Scientology and some original religious systems. At the end of the paper there is a summary. The author proves that over the centuries religion has accompanied and inspired the works of the most famous musicians who have gone down in history as outstanding jazz musicians. Many of them openly declared their faith, thanked God on CD’s, in interviews, in the titles of songs. Many of them created forms associated with religious (sacred) music. Others sought in the spiritual world their identity, sources of their talent and mystery of making music, and some were inspired by selected aspects of religion.</p>
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Beck, Guy L. "Shared Religious Soundscapes: Indian Rāga Music in Jewish, Christian, and Islamic Devotion in South Asia". Religions 14, n.º 11 (10 de novembro de 2023): 1406. http://dx.doi.org/10.3390/rel14111406.
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Music has played a central role in Indian religious experience for millennia. The origins of Indian music include the recitation of the sacred syllable OM and Sanskrit Mantras in ancient Vedic fire sacrifices. The notion of Sound Absolute, first in the Upanishads as Śabda-Brahman and later as Nāda-Brahman, formed the theological background for music, Sangīta, designed as a vehicle of liberation founded upon the worship of Hindu deities expressed in rāgas, or specific melodic formulas. Nearly all genres of music in India, classical or devotional, share this theoretical and practical understanding, extending to other Indic religions like Buddhism, Jainism, and Sikhism. What is less documented is how rāga music has been adopted by non-Indic communities in South Asia: Judaism (Bene Israel), Christianity (Catholic), and Islam (Chishti Sufi). After briefly outlining the relation between religion and the arts, the Indian aesthetics of Rasa, and the basic notions of sacred sound and music in Hinduism, this essay reveals the presence of rāga music, specifically the structure or melodic pattern of the morning rāga known as Bhairava, in compositions praising the divinity of each non-Indic tradition: Adonai, Jesus, and Allah. As similar tone patterns appear in the religious experiences of these communities, they reveal the phenomenon of “shared religious soundscapes” relevant to the comparative study of religion and music, or Musicology of Religion.
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Purnomo, Aloys Budi. "The Efficacy of Eco-Music in Interreligious Ecotheological Movement in Indonesia". DIALOGO 9, n.º 2 (30 de junho de 2023): 23–34. http://dx.doi.org/10.51917/dialogo.2023.9.2.1.
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This paper deals with interreligious eco-theological studies on unique, creative, and courageous phenomena initiated by young people to protect the integrity of creation and environmental sustainability as a form of appeal regarding ethics and environmental values in the face of law violations. They are members of a musical group named the Kendeng Squad and use songs to express their concern for environmental injustice. The group is also called an interreligious ecotheological movement because its members come from various religious backgrounds, namely, Sedulur Sikep representing the indigenous religion and Muslim activists, and Catholic activists; and because those songs call for protest against the exploitation of natural resources. Using qualitative analysis, this study found that the movement was able to motivate farmers and indigenous peoples to care about their environment. It has even spread to other places outside Pati Regency, Central Java, Indonesia, and involved music artists of the country. In this sense, eco-music has significantly contributed to the interreligious ecotheological movement. This study initially described the role of eco-music in responding to the ecological crisis hitting the Earth and then related it to interreligious ecotheology. After the general analysis, it then examined the background of the Kendeng Squad and its struggle to express its concerns through eco-musics to protect the North Kendeng Mountains Region. Overall, this paper offered a new insight into how eco-music has been efficacious in encouraging the interreligious ecotheology movement to maintain the integrity of creation and environmental sustainability.
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Atanasovski, Srđan. "Hybrid Affects of Religious Nationalism: Pilgrimages to Kosovo and the Soundscapes of the Utopian Past". Southeastern Europe 39, n.º 2 (9 de agosto de 2015): 237–63. http://dx.doi.org/10.1163/18763332-03902005.
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In this paper I analyze the contemporary practice of Serbian pilgrimages to Kosovo, which have been on the rise in the aftermath of the Kosovo Declaration of Independence. Designating the Serbian pilgrimage to Kosovo as ahybridaffective experience, I investigate how sentiments of religion and nation interact through the media of sound and music, pointing out the role of the shared lived experience of the community. I discuss how affects, which are alternately produced by the social machines of religion and of nation, become hybridized and synergistically reinforcedin situ, not only relying on discursive games and strategies, but also on the immediacy of the lived ‘truth’. I emphasize in particular the role of musical experience in this process, showing how music activates mnemonic processes and provokes affects in the community as it is uncritically inscribed on the bodies of the individuals through both communal music-listening and music-making.
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Patt-Shamir, Galia. "The Voice of Peace: Philosophical Musicality as a Promoter of Peace in Confucianism". Religions 13, n.º 11 (4 de novembro de 2022): 1063. http://dx.doi.org/10.3390/rel13111063.
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The main focus of this article is the explanatory power that music has in Confucianism according to the Analects (Lunyu 論語) and The Classic of Rites (Liji 禮記), which is reaffirmed in the Song Dynasty by Zhou Dunyi in the chapters on music in Tongshu (通書, The Penetrating Book). The article suggests that Tongshu’s chapters on music demonstrate the non-linear and non-metaphysical musical nature of Confucianism. According to this suggestion, the chapters introduce a dynamic, living model for the Confucian Way, on its own terms. This musical model supports the early Confucian vision of a multifaceted person, progressing in a multi-dimensional Way within a multi-layered polysemic world. Progressing along the Way, self-cultivation appears as one’s task to develop the various musical potentialities inherent in her or himself. The article opens with the epistemological idea of “musical knowledge” acquired by attuned hearing that winds up in a creative, peacemaking heart. Next, it introduces the ontological idea of a government that models cosmic harmony, depicting the leader as having an orchestral conductor’s aptitude; last, it presents a pragmatic perspective on the idea of musical education through the rules of propriety, depicting the practitioner as a skillful music player.
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ALLEN, CARRIE. "“I Got That Something That Makes Me Want to Shout”: James Brown, Religion, and Gospel Music in Augusta, Georgia". Journal of the Society for American Music 5, n.º 4 (24 de outubro de 2011): 535–55. http://dx.doi.org/10.1017/s1752196311000307.
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AbstractUsing ethnographic and archival data, this article explores aspects of global superstar James Brown's participation in the black gospel music community of Augusta, Georgia, from the 1980s until his death in 2006. Using rare footage of Brown performing sacred music on a local gospel music television program, the article builds on scholars’ longtime recognition of Brown's engagement with black sacred song by engaging the singer's negotiation of sacred and secular musical and cultural boundaries from the perspective of his gospel performances. The article also examines Brown's personal relationships with local gospel musicians, ultimately arguing that his involvement with Augusta's gospel tradition near the end of his life provided Brown with an alternative social space for articulating a musical and personal identity somewhat separate from his mainstream media image.
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Hobbs, R. "‘Quam Apposita Religioni Sit Musica’: Martin Bucer and Music In the Liturgy". Reformation & Renaissance Review 6, n.º 2 (17 de março de 2004): 155–78. http://dx.doi.org/10.1558/rarr.6.2.155.63510.
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Wiebe, Dustin D. "Music and Religion: Trends in Recent English-Language Literature (2015–2021)". Religions 12, n.º 10 (6 de outubro de 2021): 833. http://dx.doi.org/10.3390/rel12100833.
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This article reviews recent (2015–2021) English-language publications that focus on music in/as/about religion (broadly defined)—including world, folk, and indigenous religious traditions. While research related to Euro–American-based Christian music accounts for more publications than any other single tradition examined, this review intentionally foregrounds religions that are not as well represented in this literature, such as Islam, Hinduism, Confucianism, and folk and animistic traditions from around the world. Recurring trends within this literature elucidate important themes therein, four of which are examined in detail: (1) race and ethnicity, (2) gender and sexuality, (3) music therapy (and medical ethnomusicology), and (4) indigenous music. Broadly speaking, recent (2015–2021) publications related to religion, music, and sound reflect growing societal and political interests in diversity and inclusion, yet there remain perspectives, ideas, and ontologies not yet accounted for. The list of references cited at the end of this article represents only those publications cited in the review and a more comprehensive bibliography is available via an open-sourced Zotero group.
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Biba, Otto. "Liebe und Tugend : Musik als eine moralische Institution". Musicologica Brunensia, n.º 1 (2023): 5–18. http://dx.doi.org/10.5817/mb2023-1-1.
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Love and virtue are present as a message in all varieties of modern musical creation, above all in opera, oratorio and cantata, but also in church and instrumental music from the 16th to the early 19th centuries: individually and as a couple, as alternatives or as opposites, as related feelings or those to be decided between, as good or bad. Building on traditions, the stage became an institution during the Enlightenment, can make visible the feelings, thoughts and problems of society, which is comparable to religion, because the jurisdiction of the stage begins where the influence of worldly courts ends, which is why the stage can and must be educational. This was transferred from the stage to other branches of literary and musical art. That is why the librettist became a moral institution who had to portray feelings in his texts and teach morals. The moral education inherent in the text has to be supported and, above all, conveyed by the music. The exponents of these feelings could be drawn from mythology or religion, in the Enlightenment also come from everyday life. For this reason, love and virtue are also a concern of church music, even of instrumental music in terms of program music, which – although without text – is a special form of dramatic music. During the Enlightenment, the stage was seen as a "moral institution" (Friedrich von Schiller), but it was also before that. The fact that musical stage works – in a broader sense also oratorios and cantatas – form the feelings, teach morality and have to follow an educational task, has the musical creation from the 17th to the early 19th century not disregarded, still less negated. Librettists and composers alike have fulfilled this task to a greater or lesser degree, sometimes demonstratively and sometimes subtly, which is particularly evident in the example of love and virtue. It is interesting to observe that the admonition to virtue and to true, not only sensual, love is often expressed or at least hinted at in the title of these musical stage works, oratorios and cantatas. In any case, they educate, even preach, just like church music with its liturgical, biblical or freely paraphrased texts. Opera, oratorio and cantatas were thus involved in a homiletic communication process up until the 19th century, which defined the character and meaning of love and virtue like other Christian values. Love and virtue are unquestionably prime examples of such musically mediated homiletics.
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Illman, Ruth. "‘Retaining the Tradition – but with an Open Mind’ – Change and Choice in Jewish Musical Practices". Temenos - Nordic Journal of Comparative Religion 53, n.º 2 (29 de dezembro de 2017): 197–218. http://dx.doi.org/10.33356/temenos.60982.
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This article focuses on religion and change in relation to music. Its starting point is the argument that music plays a central role as a driving force for religious change, as has recently been suggested by several researchers of religion. Music is seen to comprise elements that are central to contemporary religiosity in general: participation, embodiment, experience, emotions, and creativity. This article approaches the discussion from a Jewish point of view, connecting the theoretical perspective to an ethnographic case study conducted among progressive Jews in London with special focus on music, religious practice, and change. The article outlines the ongoing discussion on religion and change by focusing on features of individualism, personal choice, and processes of bricolage, critically assessing them from an inclusive point of view, focusing on individuals as simultaneously both personal and socially as well as culturally embedded agents. The analysis highlights a visible trend among the interviewees of wanting to combine a radically liberal theology with an increasingly traditional practice. In these accounts musical practices play a pivotal yet ambiguous role as instigators and insignia of religious change. As a conclusion, insights into more ‘sonically aware religious studies’ are suggested.
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Schreffler, Cara R. "Our Sounds Reach the Other World: Sacred Musical Instruments and Their Spiritual Roles". CrossCurrents 73, n.º 2 (junho de 2023): 111–26. http://dx.doi.org/10.1353/cro.2023.a904519.
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Abstract: The deliberate production of special sounds, whether culturally defined as music or not, plays a vital role in virtually all global religious and spiritual beliefs. Sometimes, a particular instrument is used specifically for sacred purposes and to manifest religiosity. In many cases, those musical instruments can serve as a physical representation of belief; a form of sacred text and a link between the natural, the human, and the supernatural. These musical instruments are often recognized as having their own independent agency and, frequently, are credited with supernatural powers. These powers fall within the constraints of belief: they have power because of their association with religious or spiritual practice. This paper discusses examples of musical instruments that have specifically religious, spiritual, or miraculous powers. Examples are found in multiple cultures throughout the world, and their existence helps to illuminate the role of musical instruments in religion and spirituality, as well as how those instruments, and the broader context of music, integrate into both sociocultural and religious paradigms.
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Graham, Gordan. "The theology of music in church". Scottish Journal of Theology 57, n.º 2 (maio de 2004): 139–45. http://dx.doi.org/10.1017/s0036930604000043.
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This paper is concerned with how we should understand the distinctive contribution of music to Christian worship. It considers two contrasting views that have powerfully influenced contemporary church music – the pursuit of musical excellence by highly competent performers on the one hand, and the adoption of simpler, popular and more inclusive musical forms on the other. This contrast is explored against the background of a biblical understanding of prayer and sacrifice, and in the light of some philosophical issues surrounding both the idea of divine service and the nature of music.
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Williams, Richard David. "Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century". Journal of Hindu Studies 12, n.º 3 (1 de novembro de 2019): 319–38. http://dx.doi.org/10.1093/jhs/hiz017.
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Abstract Across the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosophy, were put into effect through lyrical composition and the ways in which songs were set to music and edited for printed anthologies. This article considers different examples of tantric musical editorial, and explores how esoteric knowledge was applied in innovative ways through the medium of printed musical literature.
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Todorova, Bogdana. "The Music Sent by God". Balkan Journal of Philosophy 14, n.º 1 (2022): 35–40. http://dx.doi.org/10.5840/bjp20221415.
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Mugham is deeply rooted in Azerbaijan’s history as it is undoubtedly depicted as the pearl of Azerbaijani musical art. Mughаm (Azerb. Muğam) (God sent music) is one of the main genres in traditional Azerbaijani music, part of the musical-poetic art of Azerbaijan’s nation. The Mughаm embodies philosophical poetry including the philosophy of music as a complement to the harmony of being. In 2008, UNESCO proclaimed the Azerbaijani Mugham as one of the masterpieces of verbal and intangible cultural heritage. This music must be understood in its two dimensions – as an example of an art and as a way of thinking, in which Sufism and Mysticism are two lines that intersect. The aim of the article is to show the unity of Azerbaijan’s spiritual culture and the synthesis of music and religion. Special attention is focused on Mugham as a type of connection with God, through mystical love and spiritual experience. This perspective differs from that of common research and discussions of Mugham, which view it principally as a unique type of poetic-musical communication between performers and a devoted audience. The post-Soviet period allowed Western scholars to become acquainted with the musical works of Azerbaijani masters of Mugham and to compare their musical-aesthetic features with those of German Romanticism. In this paper, we move beyond such considerations to claim that Mugham ought to be recognized ‘as a spiritual process preserving the dynamism of thinking’. The report will conclude with the concomitant claim that Mugham represents an intercultural philosophy.
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WINKLER, AMANDA EUBANKS. "Enthusiasm and Its Discontents: Religion, Prophecy, and Madness in the Music for Sophonisba and The Island Princess". Journal of Musicology 23, n.º 2 (2006): 307–30. http://dx.doi.org/10.1525/jm.2006.23.2.307.
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ABSTRACT Enthusiasm, a state in which the soul is supposedly freed from the body and the human vessel is filled with the divine, troubled the religious mainstream in 17th-century England. During the English Civil War, radical Protestant sects used enthusiastic prophecy to justify rebellion against monarchical tyranny. Such practices drew fire from members of the Church of England who vilified the prophets' ““religious enthusiasm”” by associating it with madness and melancholy. This strategy pathologized enthusiasm, transforming it into a mental disorder. Anti-enthusiastic discourses shaped musical and dramatic practices on the Restoration stage, as witnessed in two songs for enthusiastic prophets, Cumana in Nathaniel Lee's Sophonisba (music by Henry Purcell for a 1690s revival) and the elderly Brahmin priest in Peter Motteux's revision of The Island Princess (music by Richard Leveridge, 1699). Purcell's song for Cumana, ““Beneath a Poplar's Shadow,”” incorporates the standard conventions of musical madness and is even called a ““mad song”” in Orpheus Britannicus, Book Two (1702). Similarly, the Brahmin priest channels the speech of the false pagan gods in Leveridge's ““Enthusiastick Song””——a piece that parallels contemporary political discourses about the ““madness”” of religious nonconformity and fanaticism. A close reading of the music, dramatic texts, and contemporary political, religious, and medical discourses demonstrates how musical representations of enthusiasm were affected by the critical rhetoric of religious orthodoxy.
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Reehl, Duncan. "Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan". Religions 12, n.º 9 (13 de setembro de 2021): 759. http://dx.doi.org/10.3390/rel12090759.
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In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, while also developing novel sensibilities, behaviors, and understandings of Buddhist religiosity that are articulated by global trends in secularism, popular music, and ‘spirituality’. I suggest that they show institutionally marginal but publicly significant transformations in affective relationships with Buddhist religious content in Japan through the mediation of musical sound, which I interpret as indicative of an emerging “structure of feeling”. Overall, this essay demonstrates how articulating the rite of sutra recitation with modern music technologies, including samplers, electric guitars, and Vocaloid software, can generate novel, sonorous ways to experience and propagate Buddhism.
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Holsinger, Bruce W. "The vision of music in a Lollard florilegium: Cantus in the Middle English Rosarium theologie (Cambridge, Gonville and Caius College MS 354/581)". Plainsong and Medieval Music 8, n.º 2 (outubro de 1999): 95–106. http://dx.doi.org/10.1017/s0961137100001650.
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Despite their intriguing testimony to the vagaries of musical life in late medieval England, relatively little attention has been given by musicologists and historians of religion to the wealth of commentary on liturgical and secular music penned by the followers of the Oxford heretic John Wyclif. In a brief mention of this material in The Premature Reformation, her magisterial study of Wyclif and the Lollards, Anne Hudson suggests that the Lollards’ suspicion of musical display reflected their more general hostility towards the decoration of churches.
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Zhou, Yang, Vladimir I. Klimov e Tatiana D. Kirichenko. "Organization of music education in the Pre-Qin period: a theoretical aspect". Perspectives of Science and Education 60, n.º 6 (1 de janeiro de 2022): 459–74. http://dx.doi.org/10.32744/pse.2022.6.27.
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Introduction. In the modern educational space of each state, music education plays an essential role in the upbringing of the rising generation. The national musical culture of Ancient China, as well as some aspects of musical education organization in the Pre-Qin period, have served as the primary basis in the sphere of modernization and improvement of the modern musical education system in this country. The aim of this article is to summarize some theoretical aspects of the organization of music education in ancient China – in the Pre-Qin period (8500–221 BC). Materials and methods. The generalized materials of researchers' works reveal the practice of “early” musical education in Ancient China, expressing the interests of this or that ruling dynasty (from the primitive society, where the Chinese national musical culture had originated, up to the Qin dynasty). Representing an important historical epoch, the Pre-Qin period reflects the time of the formation of a unique system of organization of traditional music education in China. Each era that is part of the Pre-Qin period has its own distinctive features and cultural and historical characteristics. Results. In the course of summarizing certain theoretical aspects of the organization of music education in the Pre-Qin period, the names of four epochs were specified, as well as the peculiarities of the organization of general and music education in ancient China. Thus, the first era “Chinese music education in primitive society” (or) “Prehistoric China” (8500–2070 BC) is conventionally considered a time of origin of music education; a period of formation of genres of Chinese folk music culture, based on myths, religion, legends, and customs of ancient China. The second era, “Chinese Music Education in the Xia and Shang Dynasties” or “Bronze Age” (2070–1046 BC), is characterized by the appearance of the first musical instruments; the transformation of the functions of music education – from religious service to entertainment; the consolidation of the name “court music and dance education”; the appearance of the first specialized educational institutions and “special” music teachers. Music education in the third era “Chinese music education in the Western Zhou Dynasty” (1046–771 BC) had the name “rites and music education”; distinguished by the appearance of the first musical performance groups; the training of “professional personnel” in music education. The peculiarity of the fourth epoch “Chinese music education in the Spring and Autumn Era and the Age of Fighting Kingdoms” (770–221 BC) is the modernization and improvement of forms, methods, and means of music education; production of musical instruments; wide practice of performing schools and educational activities of Chinese thinkers, politicians, and educators; and availability of music education to various strata of the population. Conclusion. This study allows arguing that the Pre-Qin period is the initial stage in the formation of music education in ancient China. Moreover, it also can be considered one of the most important times in a historical retrospective – the active development of the Chinese music education system.
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Zuhdi, M. Nurdin. "Perempuan Dalam Revivalisme (Gerakan Revivalisme Islam dan Politik Anti Feminisme di Indonesia)". Musãwa Jurnal Studi Gender dan Islam 9, n.º 2 (30 de julho de 2010): 237. http://dx.doi.org/10.14421/musawa.2010.92.237-257.
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Conversations about women will never cease to be discussed. Because of concerns about women's studies has always been an issue that attracts attention. But unfortunately, the conversation about women in Islam has always rested on the conclusion that Islam is less or even no female friendly. It has been proven in every blade of which is recorded by history in which the marginalization of women is still happening everywhere and in almost all fields, both in the workplace, in households, communities, cultures and even countries. Marginalization of women does not only occur in Islam alone, even going in the other major religions such as Christianity, Catholicism, Hinduism and Buddhism. And in conversation, every woman always on the contested positions, especially in the discourse of the Islamic revival movement that will be discussed in this article. Movement of Islamic revivalism has thought that leads to return to the teachings of religion. However, in the context of women who claimed to be returning to the teachings of religion is a house of women, ie. women returning to domestication. Here, the struggle against the rise of the women's movement into thinking clashed with the Islamic revival. This article tried to explain the thoughts and ideas of the Islamic revival movement and their implications for the progress and the rise of women in Indonesia.
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Jacobsen, Christine M., e Viggo Vestel. "‘Look into My Eyes’: Music, Religion, and the Politics of Muslim Youth in Norway". Journal of Muslims in Europe 7, n.º 1 (28 de fevereiro de 2018): 47–72. http://dx.doi.org/10.1163/22117954-12341344.
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AbstractIn this article we explore the role of music in shaping and publicizing religious and political subjectivities and belonging among young Muslims in Norway. The article discusses practices of producing and listening to music in light of theories about ‘counterpublics’ and their soundscapes, the religious and the secular, and majority-minority relations. Musical soundscapes produced and consumed by young Muslims, the article argues, give voice to experiences and sentiments that are marginalized within mainstream cultural productions, and articulate both consensus and dissensus with national political institutions’ concepts and norms.
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Kapichina, Elena A. "Philosophical and semiotic analysis of the musical sign of the period of the XVII - ХХ century". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 47 (2022): 180–89. http://dx.doi.org/10.17223/22220836/47/15.
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The philosophical analysis of the problem of the musical language as a system of special symbolism from the period of the birth of individual composer creativity to the period of the New Time described in the article. This is the first part of the theoretical interpretation of the history of musical symbolism. The philosophical and aesthetic interpretation of the sign structures of the musical language considered to be presented in the context of the evolutionary and historical development on the basis of the methodology of semiosis analysis. Composer's creativity is based on certain techniques and innovative experiments, sometimes on mathematical calculations or on the improvement of existing techniques. Beginning approximately from the 11th-14th centuries, when individual composer creativity was born, and in the epoch of the 17th-20th centuries, reaching its apogee, European composer music produced the highest examples of opus music. This is an autonomous art that sets laws for itself and does not require meaningful injections from the outside - religion or philosophy, from a household or ritual situation, from the lifestyle or everyday experiences of people. The system of autonomous opus music of the twentieth century represents, on the one hand, the absolutization of the artistic specification of the art of sounds, and on the other, the fragility and vulnerability of creativity, isolation from life concreteness or from symbols included in traditional ceremonies, ceremonies, cult life, which often alienates professional opus music from the mass audience makes it incomprehensible and inaccessible. Since music and its language have a sign-symbolic nature, the process of semiosis is the mechanism by which decoding of musical symbolism is possible. Therefore, we are talking about the philosophy of musical semiosis as a process of understanding musical significance in the context of its evolution from its inception to the present day. Musical semiosis is the process of interpreting and structuring musical signs and symbols, as a result of which the open space of human emotions and sense-values is generated. A semi-musical form of musical thinking arises in terms of symbolic and symbolic meaning-making and is a mental construction, interpretation and understanding of musical signs.
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ALTAS, FAKHRUNNISA. "Tari Ratoeh Duek Perspektif Nilai Estetika Islam". Gesture : Jurnal Seni Tari 6, n.º 2 (23 de agosto de 2017): 52. http://dx.doi.org/10.24114/senitari.v6i2.7203.
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This study aims to find a way of presenting the music as accompaniment in the Sikh religious worship terkhususnya part Asadivaar, music functions as an accompaniment in implementing Asadivaar, and uses musical instruments in worship Asadivaar music as an accompaniment. This study is based on a theoretical foundation to explain the meaning form of presentation, understanding the function, the music, the music instrument, understanding of the Sikhs. This research was conducted at Gurdwara Nanak DevJiKampungKeling Medan in June until August 2016. The method in this research use descriptive qualitative research. Population Board Gurdwara and Sikh People who worship Gudawara Nanak DevJi while samples numbered 20 people. Data collected through observation, interviews, documentation, and literature study. The results of this study indicate that the form of presentation in the rituals of the Sikh religion is particularly Asadivaar implemented during worship takes place. There are four functions of music in the liturgy Asadivaar, namely Disclosure Emotional Function, Communication Function, Aesthetics Appreciation Function, Function and Stability Contribution to Cultural Survival. The usefulness of instrumental music in the worship of the Sikh religion which serves as a Tabla rhythm in the song, Harmonium function as chords and melody in a song, and tambourine serves as tempo and rhythm. Keywords: aesthetics Islam
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Pokharel, Ramesh. "Developing Trends of Music in the Vedic and Mythological Eras". SIRJANĀ – A Journal on Arts and Art Education 7, n.º 1 (21 de setembro de 2021): 60–65. http://dx.doi.org/10.3126/sirjana.v7i1.39352.
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The Vedas are religious texts which inform the religion of Hinduism also known as Sanatan Dharma; meaning eternal order or eternal Path. The Vedic – mythological period is considered to be the golden era in the history of world literature. Not only did the philosophy of the age reach a new pinnacle; but even aspects of music, art, culture, literature, sculpture, religion, and spiritualism were extended to their highest point. Amongst these cultural instruments, Music represents vocal and instrumental sounds combined in such a way as to produce beauty of form, harmony and expression of emotions. During this era music – vocal and instrumental were held in high respect in society. Music had both ritual and secular aspects. Sāmaveda is considered as the root of Vedic music as well as the root of today's south Asian classical music. Sāmagāna was considered as the sound of inspiration for the people of that age. This paper attempts to discuss the musical situations in Vedic and Mythological periods regarding its origin, development, extension and practices in ancient south-eastern i.e. Hindu civilization. The paper also points out why the need and importance of Vedic music in present day society is much more; especially in regards to the adoption of lessons and ethics from Sanatan Hinduism.
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CHANG, HYUN KYONG HANNAH. "Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora". Twentieth-Century Music 18, n.º 3 (outubro de 2021): 447–67. http://dx.doi.org/10.1017/s1478572221000207.
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AbstractProtestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.
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Tiramani, Thea. "Sikh Religious Music in a Migrating Context: The Role of Media". European Journal of Musicology 20, n.º 1 (10 de abril de 2022): 269–90. http://dx.doi.org/10.5450/ejm.20.1.2021.269.
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The aim of this article is to provide an initial study of the relationship between music and media in the Sikh communities in migration. It is easy to notice the great connection between Sikhs all over the world and the homeland: social media, television, Internet, and web radio greatly help Sikhs to create networks and to preserve a strong religious identity. Technologies also allow musical tendencies from India to be gathered and reproduced in the migratory context. Music is a fundamental aspect in the Sikh religion: it is necessary for the religious rites, but also takes on a dominant role in cultural transmission. Based on field research conducted in Sikhs communities in Northern Italy, this article offers practical and concrete examples of how social media and Internet are employed by musicians in the construction and definition of a musical Sikh identity abroad. This can help to develop a more comprehensive view of the music functions in such a complex diaspora community.
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Wardizal, Wardizal. "Realitas Magis pada Musik Tradisi Minangkabau: Sebuah Perspektif Kajian Budaya". Journal of Music Science, Technology, and Industry 5, n.º 1 (30 de abril de 2022): 131–50. http://dx.doi.org/10.31091/jomsti.v5i1.1979.
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Purpose: This paper aims to briefly discuss the magical aspects of traditional Minangkabau music. Magical reality is found in some traditional music such as the use of spells, the process of making musical instruments, how to treat musical instruments and the use of facilities in musical performances. This article aims to understand the form and function of magical practice in the context of Minangkabau traditional music. Research Methods: This phenomenon is discussed through the perspective of cultural studies as a form of dialectic between adat (art processes) and the religion of the Minangkabau community. Results and Discussion: The Minangkabau community is a devout Muslim. They only believe in God as taught by Islam. Thus, all the actions of the Minangkabau people must be based on the rules justified by Islam. Although in Islamic belief, shamanism, magic or all forms of activity or behavior are “sirik”, shamanic practices or magical ritual activities are still practiced in the community. Implication: Beliefs and behaviors related to magic are essentially part of Minangkabau culture which contains ideas and feelings, actions and works produced by the community through the learning process.