{ "jsonGeneratedAt": "2026-04-03T09:14:37Z", "workId": "94c92bfe-5893-4c4d-95b0-9ea2d380b030", "workStatus": "ACTIVE", "workType": "EDITED_BOOK", "reference": null, "edition": 1, "doi": "https://doi.org/10.11647/OBP.0403", "publicationDate": "2024-06-28", "withdrawnDate": null, "license": "https://creativecommons.org/licenses/by-nc/4.0/", "copyrightHolder": "George Corbett; Sarah Moerman. Copyright of individual chapters are maintained by the chapter author(s).", "generalNote": null, "bibliographyNote": null, "place": "Cambridge, UK", "pageCount": 478, "pageBreakdown": "xiv+464", "firstPage": null, "lastPage": null, "pageInterval": null, "imageCount": 18, "tableCount": 2, "audioCount": null, "videoCount": null, "landingPage": "https://www.openbookpublishers.com/books/10.11647/OBP.0403", "toc": "Acknowledgments\nNotes on Contributors\nIntroduction\nForeword: A Composer’s Perspective\n\nI. THEOLOGICAL APPROACHES\n1. Encountering the Uncontrollable: Music’s Resistance to Reductionism and Its Theological Ramifications\t\n2. Cross and Consolation: Music’s Empathic Spirituality\n3. Music, Breath, and Spirit\n4. An Adorative Posture towards Music and Spiritual Realities \n5. Religion, Science, and Music: An Augustinian Trinity\n6. Dissonant Spirituality: A Hermeneutical Aesthetics of Outlaw Country\n\nII. EMPIRICAL METHODS\n7. From the Sacred to the Ordinary through the Lens of Psychological Science\n8. An Inquiry into Musical Trance\t\n9. An Ethnomusicology of Spiritual Realities\n10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality\n11. Spiritual Subjects: Musicking, Biography, and the Connections We Make\n12. The Impetus to Compose: Where is Fantasy Bred?\n\nIII. CHRISTIAN WORSHIP\n13. Music in Christian Services as a Means to Induce Religious Feelings\n14. Spiritual Cultures: Innovations in Choral and Classical Music \n15. Listening to the Lived Experiences of Worshippers: A Study of Post-Pandemic Mixed Ecology Worship\n16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology\n17. Choral Singers and Spiritual Realities:A Perspective from St Mary’s Catholic Cathedral\n18. Music and Spirituality in Communal Song: Methodists and Welsh Sporting Crowds\n\nAfterword: A Psychologist’s Perspective\nList of Figures and Tables\nBibliography\nIndex", "lccn": null, "oclc": "1443868876", "coverUrl": "https://books.openbookpublishers.com/10.11647/obp.0403_frontcover.jpg", "coverCaption": null, "titles": [ { "titleId": "80a8a34b-b0e0-4f3c-b9fd-8284e8aa9836", "localeCode": "EN", "fullTitle": "Music and Spirituality: Theological Approaches, Empirical Methods, and Christian Worship", "title": "Music and Spirituality", "subtitle": "Theological Approaches, Empirical Methods, and Christian Worship", "canonical": true } ], "abstracts": [ { "abstractId": "a5bee5b8-c2c8-4dbf-a652-c038f89ee3f1", "workId": "94c92bfe-5893-4c4d-95b0-9ea2d380b030", "content": "

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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In the Introduction, the co-editors first identify the core challenge issued to this volume’s contributors: how would you, with your own area of expertise, your own research experience, and your own research methodologies, address or seek to demonstrate the commonly-perceived connection between music and spiritual realities? They then situate the various chapters within the three scholarly fields which, in responding to this challenge, the volume brings together for the first time: Christian theology and music; new musicology, ethnomusicology, and congregational music studies; as well as psychology and neuroscience. While the majority of contributors to this volume focus on Christian music in Western contexts, the editors also emphasise the scope for future studies focused on another religious tradition, or engaging with non-Western understandings of music. Finally, they provide an introductory outline of the volume’s three Parts, eighteen chapters, Foreword and Afterword.

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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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In the foreword James MacMillan discusses the profound influence of Shūsaku Endō's novel Silence on his third symphony. Endō's exploration of God's silence in the face of human suffering, such as torture and genocide, is depicted not as absence but as a form of presence. This concept resonates with MacMillan, who sees parallels in the creative process of composing music. He argues that silence is not merely emptiness but a space rich with potential, where music is born. MacMillan reflects on the necessity for composers to engage deeply with silence, despite its inherent fears and challenges, to access their inner creative resources. He draws analogies with religious experiences, particularly the contemplative practice of gazing at icons, which can reveal deeper spiritual truths. Ultimately, MacMillan emphasizes that a composer’s engagement with silence is essential for the creation of meaningful and profound music.

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James MacMillan is one of today’s most successful composers, whose works are performed and broadcast around the world, and he is also internationally active as a conductor. He is Professor of Theology and Music at the University of St Andrews, founder of The Cumnock Tryst, and was awarded a knighthood for his services to music in 2015.

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This chapter explores the ways in which the practices of music press against reductionism, and the theological resonances this provokes. Music is especially effective in countering reductionist habits: it stubbornly refuses to be treated as an equivalent or merely an instance of something else, or as no more than its component parts. Music makes sense through the distinctiveness of its own forms of life. Attention is paid to one form of reductionism lying behind many of the concerns of this volume—‘naturalistic reductionism’—and especially on the paradigm of language that regularly attaches to it. This language paradigm is criticised, and it is argued that music’s challenge to reductive impulses and its favoured language push us in decidedly theological directions without denigrating the spoken and written word.

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Jeremy Begbie is Thomas A. Langford Distinguished Research Professor of Theology at Duke Divinity School, and the McDonald Agape Director of Duke Initiatives in Theology and the Arts (DITA). His publications include Theology, Music and Time (2000), Resounding Truth: Christian Wisdom in the World of Music (2007), and Abundantly More: The Theological Promise of the Arts in a Reductionist World (2023)

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This chapter seeks to explore the assertion that “music is the most spiritual of the arts” by focusing on some aspects of its capacity to render and evoke the transcendent. It begins by pointing out the evident power of music more generally speaking, its effect on the human body and soul. It then attempts to make inroads into understanding the inevitably broad concept of ‘spirituality,’ with reference especially to music. And sometimes people equate music’s overall power with spiritual power. Among the factors that might quantify and particularize the spiritual power of music is the texts to which it is set, or out of which it comes, notably when the text is explicitly sacred, i.e., consciously dedicated to the praise and awe of transcendent reality, whether personal or not. But another, more affective marker is music’s capacity to reflect the range of human experience, from suffering to joy. Some of the music that most commonly evokes the descriptive of ‘spiritual’ is that which—with or without sacred text—does best at evoking human feeling, perhaps suffering even more than joy. A concluding case study of Arvo Pärt’s music helps illustrate this phenomenon. This chapter argues that one reason that listeners, whether secular or religious, find Pärt’s music spiritually evocative is its capacity to ‘listen to its listeners’ and somehow, mysteriously, to empathize with them in their grief, and indicate paths towards hope.

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Peter C. Bouteneff is Professor of Systematic Theology and Kulik Professor of Sacred Arts at St Vladimir’s Orthodox Theological Seminary, where he is also founding director of the Institute of Sacred Arts. His publications include Sweeter than Honey: Orthodox Thinking on Dogma and Truth (2006), Arvo Pärt: Out of Silence (2015), and How to Be a Sinner: Finding Yourself in the Language of Repentance (2018).

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What is the connection between singing, breathing, and the Holy Spirit? This chapter seeks to answer this question in the context of a theology of creation and incarnation grounded in trinitarian theology. As every singer knows, you cannot utter a word without breath. In the eternal now, the Word is uttered on the Holy Breath by the Father and utters himself back, on the Holy Breath, to the Father. This is the basis of all activity of the Trinity ‘outside’ of the Trinity. It provides the prototype of communication among creatures, including speech and song, as well as the telos of all authentic communication: eschatological participation in the communion of the Trinity. This chapter considers key moments from a trinitarian history of prayer and worship, highlighting the interaction of Word and Breath both in God’s self-disclosure in creation and redemption (going out), and in the return path of prayer, worship, and thanksgiving (coming in). This chapter offers one possible Roman Catholic approach—drawing on Hildegard of Bingen, Yves Congar, Etienne Vetö, and the Second Vatican Council. The methodological assumptions are largely pre-critical, following practices typical of patristic and medieval writers, enshrined not only in strictly theological works but also in liturgical texts and lectionaries and continued by hymn writers and poets.

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Michael O’Connor is Associate Professor at St Michael’s College in the University of Toronto, and former Director of St Michael’s Schola Cantorum. He is the author of Cajetan’s Biblical Commentaries: Motive and Method (2017) and co-edited, with Hyun-Ah Kim and Christina Labriola, Music, Theology, and Justice (2017).

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In this chapter—employing the Anselmian dictum ‘faith seeking understanding’ as a cornerstone—I suggest that there is a certain parallel between the way of being, or ‘posture’, that is instilled in and through music, and the way of being that gives life to the pursuit of divine truth, one that might be called ‘adorative’. I suggest that music’s relationship to theological, religious, and spiritual realities is twofold. One, music can cultivate an adorative attitude that involves seeing more, hearing more (and being more), thereby offering a patterning that acts as a prolegomenon to the theological, religious, and spiritual enterprise. Two, in opening out onto ‘something more’, music may also reveal the very same realities that it guides us towards and prepares us to receive. Further to this, the chapter offers three practical considerations in relation to understanding the relationship between music and spiritual realities by means of the adorative. It resonates with the caution against attempts to delimit the relationship to any conceptually conclusive and general forms or rules. It moves us away from the understanding’s tendency to control and dominate the object of its attention towards an attitude or mode of being that allows the object of attention to be. It allows a coexistence of immanent (horizontal) and absolute (vertical) forms of transcendence.

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Férdia Stone Davis is Senior Scientist for the Austrian Science Fund (FWF) Research Project, ‘The Epistemic Power of Music’, and Director of Research at the Margaret Beaufort Institute, Cambridge. She is the author of Musical Beauty: Negotiating the Boundary between Subject and Object (2011), editor of Music and Transcendence (2015), and co-editor, with M. J. Grant, of The Soundtrack of Conflict: The Role of Music in Radio Broadcasting in Wartime and in Conflict Situations (2013).

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Although, as Sir John Templeton claims, ‘god is revealing himself . . . through the astonishingly productive research of modern scientists’, it’s fair to say that religion and science have not always seen eye to eye, particularly since the late nineteenth-century. Indeed, a culture of suspicion continues to haunt their relationship today despite valiant efforts, like Templeton’s, to resolve their differences. Music can help. Music can help bring them together, and not simply because it can help us discover spiritual realities, but because—as this chapter argues—music is intrinsically unifying. Music not only brings people together, it also brings ideas together, and it does so because it is itself unified by the very features of its own design. In this sense, music not only helps us discover spiritual realities, it is, as Augustine suggests, those spiritual realities themselves; it is, as Templeton suggests, god revealing himself. This chapter responds to those suggestions in two ways: firstly, by hypothesizing a relationship between religion, science and music today; and secondly, by testing that hypothesis against Augustine’s theo-psychological understanding of music. A conclusion summarizes my findings, and points to future plans, of which the present chapter may serve as a type of pilot.

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Bennett Zon is Professor of Music at Durham University. He is Founding Director of the International Network for Music Theology and Inaugural President of the International Nineteenth-Century Studies Association. His publications include Music and Metaphor in Nineteenth-Century Britain (2000), Representing Non-Western Music in Nineteenth-Century Britain (2007), and Evolution and Victorian Musical Culture (2017).

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This chapter explores the inherent ambiguity in the meaning of “spirituality” through a musicological analysis of Outlaw Country. The musical genre, beginning in a rejection of the Nashville recording process in the 1970s, is marked by an interpretation of more traditional religious themes into spiritual symbolism. The ambiguity of spirituality appears in both the lyrics and music of Outlaw Country as a form of dissonance. Willie Nelson, Sturgill Simpson, and Cody Jinks serve as examples of this dissonance. Even more, the translation of religion into spirituality imitates a broader cultural shift, which is tracked below through the work of Charles Taylor. Both of these analyses claim that the meaning of spirituality cannot be pre-determined, but can only be discovered by exploring where it becomes reality in aesthetic events. This claim coincides with the general thrust of German aesthetics, as it is developed in the twentieth century through thinkers such as Paul Tillich, Martin Heidegger, and Hans-Georg Gadamer. The value of this view of aesthetics is most evident in the emphasis on the symbolic nature of reality and in seeing music as an exemplary aesthetic form in this regard. Both of these aspects provide a suitable means to gain an understanding of the meaning of spiritual that is realized in Outlaw Country.

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C.M. Howell is a doctoral researcher at the University of St Andrews, where he is working on the theological aesthetics of Eberhard Jüngel.

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Spiritual elements of music have been interwoven into the very fabric of human existence of millennia, and arguably at the foundation of musical experience. Yet there is next to no empirical research on the spiritual nature of music in any of the social or biological sciences. Here the author presents initial findings from an ongoing research program that consists of five empirical research studies aimed mapping the role of spirituality in musical experiences. From situations that are sacred to the ordinary, the findings converge to show that aspects of spirituality are infused within individual and group experiences of music, from music-making and singing to passive listening and personal preferences. Further, the findings point to universal elements underpinning the links between music and spirituality and its ability to cross cultures, including serving as a bridge to bond conflicting cultures together. This research program lays an empirical foundation on which future research can build.

", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Yeshaya David M.", "lastName": "Greenberg", "fullName": "Yeshaya David M. Greenberg", "biographies": [ { "biographyId": "e1037cd3-fd17-4ec6-bb63-919f06ece7b3", "contributionId": "8c8a87b0-3296-466d-aa77-896777bc044b", "content": "

Yeshaya David M. Greenberg is a psychologist and social neuroscientist. He is the founding director of CHIME (Center for Health Innovation, Music, and Education), and an honorary research associate at the Autism Research Centre at Cambridge University. He has published the largest studies to date on autism (Proceedings of National Academy of Sciences, 2018), on music and culture (Journal of Personality & Social Psychology, 2022), and on theory of mind (Proceedings of the National Academy of Sciences, 2022).

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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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Aqmoldaev [Performer], ‘Kertolghau’ [Liner notes and production by Jean During and Ted Levin]. 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Njavan [Performer], ‘Song, Kkas Drum and Jampa Jingle Belt, Imitation of Kamlanie’ [Liner notes and recording by Henry Lecomte]. 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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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An Ethnomusicology of Spiritual Realities", "title": "9. An Ethnomusicology of Spiritual Realities", "subtitle": null, "canonical": true } ], "abstracts": [ { "abstractId": "b96e3d7e-cdb6-4ab1-9a3c-4496625a755a", "workId": "a093f36f-232c-4f2f-bc86-9829c6d934d7", "content": "

This chapter surveys some of ethnomusicology’s attitudes toward religion and other-than-human agency in its disciplinary histories and practices. Since the early 1900s, the field has moved from positivist, comparative origins through a cultural turn and into nonsecular methodologies. This is the story of a long pivot from disentangling music and religion as secular categories toward recognizing the entanglements of sound, spiritual realities, and ethnomusicologists. Alongside its methodologically atheist or methodologically agnostic disciplines in the social sciences, mainstream ethnomusicology proceeded through the twentieth century on the basis of knowledge being limited to the human. Other-than-human agents were largely written out of ethnomusicology. Ethnomusicologists could report on research participants’ descriptions of the spiritual power and divine origins of music, but could not leverage sonic theologies or the knowledge of divine encounter in ethnomusicology so-named. In many of ethnomusicology’s histories, addressing connections between music and spiritual realities meant wielding the blunt instrument of ‘music’ on the secular oxymoron of ‘spiritual realities.’ Things have changed since the 2000s. In this chapter, I draw attention to ethnomusicology’s nonsecular turn by comparing the work of Jeff Todd Titon and Melvin Butler and offering a brief ethnography of a performance by The Campbell Brothers, sacred steel artists from the House of God Church. To contextualize this crucial turn, I emphasize its embrace of sonic theology as a theoretical tool, the ways other-than-human agency enters into musical ethnography, and the knowledge ethnomusicologists communicate through their nonsecular relationships with other-than-human deities and spiritual beings.

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Jeffers Engelhardt is Professor of Music at Amherst College. He is the author of Singing the Right Way: Orthodox Christians and Secular Enchantment in Estonia (2015), and he co-edited, with Philip V. Bohlman, Resounding Transcendence: Transitions in Music, Religion, and Ritual (2016) and, with Andrew Mall and Monique Ingalls, Studying Congregational Music: Key Issues, Methods, and Theoretical Perspectives (2021).

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The notion of atmosphere adds a new dimension to metaphors and symbols attempting to describe both musical and spiritual experience. Speaking of atmosphere, the discourse on music or spirituality itself moves from the purely descriptive sphere into the realm of experience, shedding new light on its specificity and effects. Consequently, one can speak of a reinterpretation of such key concepts for spirituality and theology as the body, incarnation, transformation (conversion). Music can help to understand and express them better.In this chapter, the above theses will be presented according to the following scheme: 1) A general outline of the philosophical and aesthetic significance of the concept of 'atmosphere'; 2) A presentation of the potential 'dimensions of atmosphere' in music (tonality, the event of performance, the context of listening to the music, the role of the title and the biography of the composer or performer); 3) A presentation of the potential 'dimensions' of spirituality (prayer and its context, celebration, the eloquence and expression of texts, encounter); 4) A demonstration of the common 'atmospheric' elements of music and spirituality: the experience of perception, moving, touching, the presence of the Other, encounter. One cannot deny that the concept of atmosphere functions best in the spirituality of religions based on personal contact with God. If so, it is not merely descriptive but can have a practical dimension, stimulating both the musical or spiritual experience as well as facilitating its interpretation by opening it up, through synesthesia, to the sensations and language of other arts.

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Bernard Łukasz Sawicki OSB is Associate Professor in Theology at the Pontifical University of Saint Anselm in Rome. His publications include The Concept of the Absurd and its Theological Reception in Christian Monasticism (2005), W chorale jest wszystko [In Gregorian Chant Is All] (2014), and The Music of Chopin and the Rule of Saint Benedict (2014).

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This chapter focusses on and explores the connection between the two core themes at the heart of the book’s research agenda: spirituality and music. Building on broad and intellectually informed definitions of musicking and spirituality, the chapter names three theological categories from the world of Christian theology – Grace, Trinity, and the Ascended Body of Christ – that help ground some commonly-perceived connections between the two, as well as various disciplinary fields from world of music study – musical semiotics, hermeneutics, and history – necessary to explore these connections further. From these preliminary considerations, the chapter makes a case for grounding research into music and spirituality on the source and subject of that work: the very person of the researcher. A reflexive and self-appropriated researcher is the foundation of all useful knowledge and the condition of possibility for its clarity and future development. Drawing on the categories of narrative, biography (Metz), the researcher “in conversion” (Lonergan), and a small test-group of reflective responses from scholars at work in this field, I suggest that more awareness of whence our interest in this field will help bridge gaps and advance our quest to understand music, spirituality and the spaces in-between.

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Maeve Louise Heaney VDMF is Associate Professor in the Faculty of Theology and Philosophy, and the Xavier Chair for Theological Formation, at Australian Catholic University. She is the author of Music and Theology: What Music Says about the Word (2012) and Suspended God: Music and a Theology of Doubt (2022).

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In this article I explore aspects of my search to understand the nature of the impetus to compose. This quest originated from a personal experience of the conflict between preplanned systems and intuition/inspiration: a conflict in my creativity that produced a compositional block. The music of Peter Maxwell Davies seemed to embody this dialectic in that his large-scale works and music theatre pieces appeared to hint that he had found a way to allow both order and intuition to exist within his compositional approach. However, as always, the reality was much more complex, and the composer’s diaries have, latterly, indicated that his struggle with the compositional imperative was intense. James MacMillan and Wolfgang Rihm on the other hand, seemed to exhibit, each in his own way, much less need for preplanned systems, and more reliance on intuition and inspiration, the latter being a somewhat contested term. Whereas Davies utilised many pre-compositional sketches, Rihm’s sketches are sparse and at times non-existent, suggesting much less reliance on pre-planning. Despite a lack of available sketches by MacMillan, what emerged from this study was that some aspect of the ‘spiritual’ underpins all three composers’ work, one manifestation of which is a sense of continuity whereindividual works are often cojoined in a kind of ongoing process where one leads to another, and there is a point in the composition process where the unconscious is ‘allowed’ to become conscious. This, in turn, seems to suggest links with what happens during ‘peak experiences’ in music.

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Richard E. McGregor is Professor Emeritus of Music at the University of Cumbria, and he currently lectures at the Royal Conservatoire of Scotland. He edited Perspectives on Peter Maxwell Davies (2000), and he is the author, with Nicholas Jones, of The Music of Peter Maxwell Davies (2020).

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This chapter explores the relationship between musical practices and spiritual experiences in the context of Christian worship. It combines historical, theoretical, and liturgical perspectives with findings from empirical studies of singing in current Roman Catholic worship. After introducing a taxonomy of psychological effects of music in the liturgy according to the emic perspective of the Church, existing empirical studies are reviewed and results of a quantitative study on singing experiences in Roman Catholic mass are presented. The chapter concludes with an outline of a research program dedicated to empirically study the spiritual effects of musical practices in Christian worship.

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Melanie Wald-Fuhrmann is Director of the Department of Music at the Max Planck Institute for Empirical Aesthetics (MPIEA) and Professor of Systematic Musicology at the Goethe University, Frankfurt/Main. Her publications include Welterkenntnis aus Musik: Athanasius Kirchers ‘Musurgia universalis’ und die Universalwissenschaftim 17. Jahrhundert [Knowledge of the World from Music. Athanasius Kircher’s ‘Musurgia universalis’ and Universal Science in the Seventeenth Century] (2006), ‘Ein Mittel wider sich selbst’: Melancholie in der Instrumentalmusik um 1800 [‘A Means Against Itself’: Melancholy in Instrumental Music around 1800] (2010), and as co-editor, with Klaus-Peter Dannecker and Sven Boenneke, Wirkungsästhetik der Liturgie: Transdisziplinäre Perspektiven [Aesthetics of Liturgy: Transdisciplinary Perspectives] (2020).

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Recent research has revealed not only the continued growth of interest in traditional western sacred music but also the development of new initiatives that respond to people’s desire to experience spirituality through music. In this chapter, I explore how Kathryn King’s ground-breaking research into choral evensong in England, and Hanna Rijken’s mapping of the growth in popularity of choral evensong in the Netherlands, as well as the results of my own ‘Experience of Music’ surveys all indicate that sacred music, and its ritual-sacral context, leads towards tranquillity, transcendence and sanctuary, re-enchanting both religion and the secular, and leading the listener or participant away from potentially destructive emotions of pride, anger, greed or envy, towards more benevolent feelings of humility, patience, temperance and generosity. Through exploration of current trends in scholarship, I reveal how the liminal space of evensong, with its mystical overtones and transcendental properties, is not a consumerist distraction from the ‘real’ world of work, business, money, or other realities of the everyday that can give us anxiety and stress. It is a retreat into the numinous that can give strength, encouragement, and inspiration to face our problems, and look outwards from our own selfish desires. Both choral evensong and semi-liturgical rituals bring us musical and sacral encounters which can increase our sense of empathy and galvanise us for action. Hearts and minds can be transformed by music and the word in combination, a transformation encouraged by a shared experience. Listening to sacred music in community, even as strangers, can also inspire a broader sense of cohesion and socially committed resolve.

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Jonathan Arnold is Executive Director of the Social Justice Network in the Diocese of Canterbury. Prior to this, he was Dean of Divinity and Fellow of Magdalen College at the University of Oxford, and, for many years, a member of the professional choir The Sixteen. His publications include The Great Humanists (2011), Sacred Music in Secular Society (2014), and Music and Faith: Conversations in a Post-Secular Age (2019).

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The status of worship changed indelibly following the Covid-19 pandemic. Specifically, the rise in online worship impacted how music is accessed and shared, raising questions regarding the purpose of worship in this new age, the faithfulness to scripture in an increasingly secular context, and the influence of online worship on religious narratives. Previous research using empirical methods, such as mixed method surveys, has already offered invaluable contributions to reflections upon the consequences of the pandemic for worship. However; recognising that lived Christian realities are highly complex, and difficult to capture via a questionnaire, I sought to unpack lived worshipper experiences using interviews. I used a qualitative research methodology, precisely Reflexive Thematic Analysis, to investigate the worshipping experiences of five Catholic and Anglican laity worshippers and employees in the community of the Diocese of Chelmsford. In thematically analysing five interviews, I suggest four future strategies for implementing mixed ecology worship: online worship, communication, musical rhetoric, and chorister recruitment. Outcomes from using qualitative research to listen to worshippers’ experiences indicate that access to worship online is worth sustaining and developing, and that churches have work to do to ensure the continued viability of traditional choral music-making in the post-pandemic praxis.

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Elspeth Manders is a doctoral student at the University of St Andrews. Prior to this she obtained an MLitt in Sacred Music from the University of St Andrews, and a BA (Honours) in Music from the University of Oxford.

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The rapid rise of digital technologies has transformed religious practices and communities, altering how people worship and experience spiritual realities. Accelerated by the COVID-19 pandemic, digital worship, including virtual choirs, has become a norm, enriching communal experiences and bridging offline and online realms. This study employs an innovative abductive methodology, combining netnography and digital ecclesiology, to explore digital worship's impact on spiritual growth and community formation. The central research question is: Can online music foster authentic spiritual communion among those immersed in digital worship, and, if so, to what extent? Traditional dichotomies—embodied versus disembodied, online-only versus offline-only, and real versus unreal—often limit our understanding of digital worship. The abductive approach bridges these gaps by integrating theory and empirical data, creating a dynamic dialogue between theological concepts and lived experiences. Focusing on multi-screen YouTube choir videos like ‘The UK Blessing,’ the study illustrates online worship's potential to foster unity and shared spiritual experience. By examining the extensive comments on this well-known video, the research highlights the Holy Spirit’s community-building movements facilitated through digitally-mediated music. Merging insights from digital ecclesiology and netnography provides a richer portrayal of digital worship, each discipline illuminating unique facets of this spiritual phenomenon. This exploration advances the scholarly discourse on digital spirituality, demonstrating that online worship retains the authenticity and depth of traditional practices. Moreover, different kinds of digital platforms enable diverse opportunities for spiritual connection and worship. The methodological contribution lays foundational groundwork for future research, emphasizing the utility and promise of the abductive method in studying digital worship.

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Tihomir Lazić is Senior Lecturer in Systematic Theology at Newbold College of Higher Education, a musician and worship leader, and the author of Towards an Adventist Version of Communio Ecclesiology: Remnant in Koinonia (2019).

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Music-making has played a fundamental part in Catholic faith and worship since the beginnings of the Church. Today, music-making remains embedded in the spiritual life of the Catholic Church, where it can potentially shape the spiritual realities of those performing and hearing it. Yet accessing and understanding these spiritual realities can be inherently difficult for the researcher. To address this, this chapter takes as its starting point a basic tenet of the Catholic faith: namely its rejection of a dualistic separation of body and spirit, in favour of the complete integration of spirit and body in the human person, which is understood as a body-soul composite. The chapter proposes that understanding “the body” in Catholic music-making can open up a viable path to a better understanding of music-makers’ spiritual realities and experiences. Using a case study of music-making in St Mary’s Catholic Cathedral in Edinburgh, where the author is director of music, bodily positioning of choir members in the liturgical space, clothing and robes, and the individual singer vis-à-vis the ensemble are discussed. In doing so, the chapter argues that the body is a valid and potentially fruitful place to begin understanding the spiritual realities of Catholic music-makers. Likewise, it argues that a greater understanding of this could be at the heart not just of fulfilling the musical and practical dimensions of the music director role, but also of fulfilling its spiritual ends most effectively.

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Michael Ferguson is Lecturer and Coordinator of Academic Music at the University of St Andrews, and Director of Music at St Mary’s Catholic Cathedral in Edinburgh.

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This chapter explores the relationship between spirituality and identity through consideration of the musical practices of two groups long renowned for the vigour and vitality of their communal singing: Methodists and Welsh sporting crowds. It argues that lyrics, musical settings and performance contexts all contribute to the ways in which singing has become central to both the self-understanding of these groups and their perception by outsiders. In terms of lyrics, the chapter contends that matters of form, language and imagery are centrally important, while in musical terms, repetition and harmony are key factors in enabling and encouraging impassioned singing in specific communal contexts. Jeff Astley’s concept of ordinary theology is brought into dialogue with Ruth Finnegan’s work on hidden musicians and Benedict Anderson’s imagined communities to argue that text and music combine in particular contexts in which communal identity is already foregrounded to heighten and intensify the experiences of participants.

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Martin V. Clarke is Senior Lecturer in Music at the Open University. He is the author of British Methodist Hymnody: Theology, Heritage and Experience (2018), editor of Music and Theology in Nineteenth-Century Britain (2012), and he co-edited, with Trevor Herbert and Helen Barlow, A History of Welsh Music (2022).

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The afterword provides a summative commentary on some key themes and issues raised by the contributors to the volume. It is offered from outside the disciplines of music and theology, from the perspective of an empirical psychologist. Issues of generality (or specificity) of the spiritual musical experience are discussed in relation to quantitative and qualitative approaches to data gathering. This has relevance to (a) the positionality of different scholars studying the phenomenon of spirituality through music, and (b) the great variety of individual contexts and modes of response to music in the populations studied. A technical means of encompassing different viewpoints on, and understandings of, the term \"spiritual\" is proposed: the construction of a conceptual map of the different terms found in discourse on the topic, organised along a small number of dimensions which elucidate the connection of different terms to each other. This afterword also revisits an earlier discussion of the usefulness of applying the notion of affordances to account for the opportunities that music affords (but does not dictate) for spiritual experience, through its ineffability, its associative power, and its unifying characteristics.

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John Sloboda is Emeritus Professor at the University of Keele, where he founded and directed the Study of Musical Skill and Development, and at the Guildhall School of Music and Drama. His publications include The Musical Mind: The Cognitive Psychology of Music (1985), Exploring the Musical Mind: Cognition, Emotion, Ability, Function (2005) and, as co-editor with Patrik N. Juslin, Handbook of Music and Emotion: Theory, Research, Applications (2009).

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