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Establishing a comprehensive framework for investigating the profound connection between music and spiritual experiences, this chapter first introduces the Metaphysics of Quality by Robert Pirsig. This philosophical approach offers specific ontological positions on spirituality and empiricism, laying the groundwork for the exploration of music and trance phenomena, often considered outside of empirical studies. Drawing upon the Metaphysics of Quality, the study then adopts a multidisciplinary approach to unravel the intricate dynamics of musical trance. It addresses the prevailing dichotomy in existing literature, which often isolates either the socio-cultural significance or the psychoacoustic mechanisms of music in trance states. In order to bridge this gap, the inquiry simultaneously delves into music's role as a culture-specific sign and a sonic inducer within spiritual contexts. Through cognitive and psychological lenses, the study explores theories of altered states of consciousness (ASC), examines ethnographic examples of musical trance practices from nine distinct geographical regions, and provides comparative analysis of field recordings to gain insights into the psychoacoustic properties accompanying trance states. While direct causality between sound and trance induction remains elusive, the study identifies common sonic patterns hinting at a complementary function of music in ASC. Various units of statistical regularities in music emerge as significant elements linking sound to perceptual and socio-cultural contexts of trance rituals. Through integration within a non-dualist eco-social model of sonic signification, the chapter provides a nuanced understanding of music's multifaceted role in facilitating spiritual experiences across diverse cultural landscapes.

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Dilara Turan is a Research Assistant in the Department of Music, Istanbul Bilgi University, Turkey, where she also received her doctorate. Her current research focuses on the spirituality of music and the cultural study of avant-garde music practices.

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The composer Sir James MacMillan has often referred to music as ‘the most spiritual of the arts’, and for many people, regardless of religious affiliation, this rings true. In listening to music, we are drawn to dimensions of human experience beyond the material. This collection brings together leading scholars from various disciplines – including Christian theology, musicology, and psychology and neuroscience – to interrogate the intimate relationship between music and spirituality.

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The composer Sir James MacMillan has often referred to music as ‘the most spiritual of the arts’, and for many people, regardless of religious affiliation, this rings true. In listening to music, we are drawn to dimensions of human experience beyond the material. This collection brings together leading scholars from various disciplines – including Christian theology, musicology, and psychology and neuroscience – to interrogate the intimate relationship between music and spirituality.

Organised in three parts – theological approaches, empirical methods, and Christian worship – the volume covers a vibrant array of topics. From examining how the Covid-19 pandemic has reshaped the profile of contemporary worship to investigating the spiritual effects of bodily positioning in liturgical spaces, from exploring spiritual experience through heart and breathing activity, electrodermal activity, and saliva samples to comparing the spiritual experiences of British Methodists with Welsh sporting fans, these essays attend to the lived reality of people’s perceived spiritual experiences through music.

This collection will be an invaluable resource for scholars in the growing field of Christian theology and music, and will serve as a cornerstone for future research at the intersection of theology, music, and psychology and neuroscience. It will also appeal to anyone curious about why music consistently, across cultures, occupies a unique space bridging the material and spiritual dimensions of human life.

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George Corbett is Professor of Theology at the University of St Andrews. His publications include Dante and Epicurus (2013), Dante’s Christian Ethics (2020), and, as editor, Annunciations: Sacred Music for the Twenty-First Century (2019).

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Sarah Moerman is a Research Fellow in Theology and Music at the University of St Andrews. She also holds a research fellowship in social cognition from the University of Birmingham which provides psychology cross-training for theologians. Her research focuses on the various intersections between music, theology, and psychology.

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Salchak [Performer], ‘Kham [Shaman Ritual]’ [Liner notes and recording by Dina Oiun]. 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Yokoyama [Performer], ‘Ko-ku (Vacuity)’ [Liner notes by Akira Tamba]. 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Anastasija [Performer], ‘Vocals and Jajar Frame Drum: A Song for the Khololo Celebration’ [Liner notes and recording by Henry Lecomte]. 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