Thoth distribution@thoth.pub 20260403T091437

urn:uuid:269aeecd-59e3-41af-92b9-ca9ab5dd7666 03 01 01 thoth-work-id urn:uuid:94c92bfe-5893-4c4d-95b0-9ea2d380b030 01 thoth-publication-id urn:uuid:269aeecd-59e3-41af-92b9-ca9ab5dd7666 15 9781805113027 03 9781805113027 06 10.11647/OBP.0403 23 1443868876 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 34 mm 03 3.4 cm 03 1.34 in 08 900 gr 08 31.7466 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Music and Spirituality Theological Approaches, Empirical Methods, and Christian Worship 1 B01 21 0000000270433253 George Corbett George Corbett Professor of Theology, School of Divinity 40 02wn5qz54 University of St Andrews 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). 2 B01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 00 478 03 09 18 11 2 12 AVA 93 AVLK 10 MUS048000 B2 Music B2 Archaeology and Religion 12 AVGD 93 AVLA 10 MUS048010 93 AVA 12 HRCR 10 REL055000 93 QRVJ1 20 Spiritual; Western culture; Christianity; Musicology; Ethnomusicology; Neuroscience 01 06 02 00 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 – incl 03 00 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. 30 00 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. 04 00 Acknowledgments Notes on Contributors Introduction Foreword: A Composer’s Perspective I. THEOLOGICAL APPROACHES 1. Encountering the Uncontrollable: Music’s Resistance to Reductionism and Its Theological Ramifications 2. Cross and Consolation: Music’s Empathic Spirituality 3. Music, Breath, and Spirit 4. An Adorative Posture towards Music and Spiritual Realities 5. Religion, Science, and Music: An Augustinian Trinity 6. Dissonant Spirituality: A Hermeneutical Aesthetics of Outlaw Country II. EMPIRICAL METHODS 7. From the Sacred to the Ordinary through the Lens of Psychological Science 8. An Inquiry into Musical Trance 9. An Ethnomusicology of Spiritual Realities 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 11. Spiritual Subjects: Musicking, Biography, and the Connections We Make 12. The Impetus to Compose: Where is Fantasy Bred? III. CHRISTIAN WORSHIP 13. Music in Christian Services as a Means to Induce Religious Feelings 14. Spiritual Cultures: Innovations in Choral and Classical Music 15. Listening to the Lived Experiences of Worshippers: A Study of Post-Pandemic Mixed Ecology Worship 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 17. Choral Singers and Spiritual Realities:A Perspective from St Mary’s Catholic Cathedral 18. Music and Spirituality in Communal Song: Methodists and Welsh Sporting Crowds Afterword: A Psychologist’s Perspective List of Figures and Tables Bibliography Index 20 00 Open Access 01 00 03 02 https://books.openbookpublishers.com/10.11647/obp.0403_frontcover.jpg 1 03 06 10.11647/obp.0403.20 1 12 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000270433253 George Corbett George Corbett Professor of Theology 40 02wn5qz54 University of St Andrews 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). 2 A01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access George Corbett and Sarah Moerman 2 03 06 10.11647/obp.0403.00 13 18 6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Foreword A Composer’s Perspective’ 1 A01 James MacMillan James MacMillan Professor 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access James MacMillan 3 03 06 10.11647/obp.0403.01 21 40 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 1. Encountering the Uncontrollable Music’s Resistance to Reductionism and its Theological Ramifications 1 A01 21 000900037406316X Jeremy Begbie Jeremy Begbie Thomas A. Langford Distinguished Research Professor of Theology 40 00py81415 Duke University 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) 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeremy Begbie 4 03 06 10.11647/obp.0403.02 41 54 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 2. Cross and Consolation Music’s Empathic Spirituality 1 A01 21 0009000077135374 Peter C. Bouteneff Peter C. Bouteneff Professor of Systematic Theology and Kulik Professor of Sacred Arts 40 0428qkc73 Saint Vladimir's Orthodox Theological Seminary 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Peter C. Bouteneff 5 03 06 10.11647/obp.0403.03 55 72 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 3. Music, Breath, and Spirit 1 A01 21 0009000984620648 Michael O’Connor Michael O’Connor Associate Professor 40 03dbr7087 University of Toronto 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael O’Connor 6 03 06 10.11647/obp.0403.04 73 86 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 4. An Adorative Posture towards Music and Spiritual Realities 1 A01 21 0000000336492062 Férdia J. Stone-Davis Férdia J. Stone-Davis Director of Research at the Margaret Beaufort Institute 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Férdia J. Stone-Davis 7 03 06 10.11647/obp.0403.05 87 108 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 5. Religion, Science, and Music An Augustinian Trinity 1 A01 21 0000000274018989 Bennett Zon Bennett Zon Professor of Music 40 01v29qb04 Durham University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Bennett Zon 8 03 06 10.11647/obp.0403.06 109 136 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 6. Dissonant Spirituality A Hermeneutical Aesthetics of Outlaw Country 1 A01 21 0009000513590673 C.M. Howell C.M. Howell Doctoral Researcher 40 02wn5qz54 University of St Andrews C.M. Howell is a doctoral researcher at the University of St Andrews, where he is working on the theological aesthetics of Eberhard Jüngel. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Charles Howell 9 03 06 10.11647/obp.0403.07 139 158 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 7. From the Sacred to the Ordinary through the Lens of Psychological Science 1 A01 21 0000000315601418 Yeshaya David M. Greenberg Yeshaya David M. Greenberg Researcher 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access David M. Greenberg 10 03 06 10.11647/obp.0403.08 159 192 34 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 8. An Inquiry into Musical Trance 1 A01 21 0000000157680818 Dilara Turan Dilara Turan Research Assistant in the Department of Music 40 04pm4x478 Istanbul Bilgi University 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Dilara Turan 34 01 Unstructured citation D. Bernez [Performer], ‘Na Go De’ [Liner notes and recordings by Scott Kiehl]. On Akom: Art of Possession, Track Number 19 [CD] (Village Pulse VPU-1009, 2000). 34 01 Unstructured citation 1 34 01 Unstructured citation 2 34 01 Unstructured citation ‘An Evening with the Flute Ensemble’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 15 [CD], Museum Collection Berlin (WERGO—SM 17082, 2003). 34 01 Unstructured citation 3 34 01 Unstructured citation ‘Bartha, the Winner’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 14 [CD], Museum Collection Berlin (WERGO —SM 17082, 2003). 34 01 Unstructured citation 4 34 01 Unstructured citation ‘The Bata Repertoire for Shango in Sakété: Oba Koso’ [Liner notes and recordings by Carol Hardy, compilation by Marcos Branda-Lacerda]. On The World’s Musical Traditions, Vol. 8: Yoruba Drums from Benin, West Africa, Track Number 7 [CD] (Smithsonian Folkways Recordings 40440, 1996). 34 01 Unstructured citation 5 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘Bira Dance at Great Zimbabwe’, YouTube, 20 January 2013 [online video recording], https://www.youtube.com/watch?v=Pbs80p4-nGM 34 01 Unstructured citation 6 34 01 Unstructured citation ‘La Cérémonie Du Bobé’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 2 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 7 34 01 Unstructured citation ‘Le Bobé S’est Rapproché’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 3 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 8 34 01 Unstructured citation ‘Musique de Divination Diye’ [Liner notes and recordings by Simha Arom]. On Anthologie de la musique des Pygmées Aka = Musical anthology of the Aka Pygmies, Disc 2, Track Number 9 [CD] (Ocora C 560171/72, 2002). 34 01 Unstructured citation 9 34 01 Unstructured citation Foundation for Hausa Performing Arts, ‘Dodorido Koroso Dance Drama Segment 2 Bori Adept’, 8 January 2012 [online video recording], https://www.youtube.com/watch?v=hpjrw_VRW1Y 34 01 Unstructured citation 10 34 01 Unstructured citation ‘Music for the Buma Dance’ [Liner notes and recordings by Simha Arom & Patrick Renaud]. On Cameroon: Baka Pygmy Music, Disc 1, Track Number 1, 10 [CD] (Smithsonian Folkways Recordings/UNESCO, 1977). 34 01 Unstructured citation 11 34 01 Unstructured citation ‘Le Jeune Eland (Nang Tzema Tzi)’ [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 18 [CD] (Ocora C 560117, 1997). 34 01 Unstructured citation 12 34 01 Unstructured citation ‘Oryx (Go’e Tzi)’ (1997) [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 19 [CD] (Ocora 560117, 1997). 34 01 Unstructured citation 13 34 01 Unstructured citation Mtendeni Maulid Ensemble, ‘Dahala 3: Marihaba / Hua Maulana / Salat / Jalla Jalaluh / Khamsa Arkan / Man A’ala / Leo Mambo’ [Liner notes by Aïsha Schmitt]. On Zanzibara, Vol. 6—A Sufi Performance from Zanzibar, Track Number 3 [CD] (Buda Musique 860219, 2012). 34 01 Unstructured citation 14 34 01 Unstructured citation ‘Hadra Song: “Al hamdou lillahAlgeria”’ [Liner notes and recordings by Pierre Augier]. On Algeria: Sahara - Music of Gourara Disc 1, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO, 1975). 34 01 Unstructured citation 15 34 01 Unstructured citation ‘Jinele: chant de divination’ [Liner notes by Jean L. Jenkins, Ralph Harrisson and Ragnar Johnson]. On Ethiopie: musiques vocales et instrumentales, Disc 2, Track Number 10 [CD] (Ocora C 580055/56, 1994). 34 01 Unstructured citation 16 34 01 Unstructured citation ‘Būderbāla / Būḥāla’. On The Music Of Islām—Volume Six: Al-Maghrib, Gnāwa Music, Marrakesh, Morocco, Track Number 4 [CD] (Celestial Harmonies 13146-2, 1997). 34 01 Unstructured citation 17 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘The Mbira Ceremony’, YouTube, 18 May 2012 [online video recording], https://www.youtube.com/watch?v=OXBQbn6wZeQ 34 01 Unstructured citation 18 34 01 Unstructured citation ‘Molimo Song of Devotion to the Forest’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 26 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 19 34 01 Unstructured citation ‘Molimo Song: Darkness Is Good’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 25 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 20 34 01 Unstructured citation Gnawalux Brussels [Screen name], ‘Stambali 1—Gnawa Tunisie’, YouTube, 27 August 2008 [online video recording], https://www.youtube.com/watch?v=wK-UasuUtdo 34 01 Unstructured citation 21 34 01 Unstructured citation ‘Tazenkharet’ [Liner notes and recordings by Finola Holiday & Geoffrey Holiday]. On Tuareg Music of the Southern Sahar, Disc 1, Track Number 13 [CD] (Ethnic Folkways Library FE 4470, 1960). 34 01 Unstructured citation 22 34 01 Unstructured citation ‘Timgui’ [Liner notes and recordings by Charles Duvelle]. On Bariba—Bénin, Track Number 5 [CD] (Philips Music Group France 538721-2, 1999). 34 01 Unstructured citation 23 34 01 Unstructured citation Mwizenge Tembo [Screen name], ‘Vimbuza Dance Ritual Ceremony’, YouTube, 20 July 2008 [online video recording], https://www.youtube.com/watch?v=6wpsNQp1ci4 34 01 Unstructured citation 24 34 01 Unstructured citation ‘Alto Bung’o Horn (Kenya)’ [Compiled by Stephen Innocenzi]. On Africa, Music from the Nonesuch Explorer Series, Track Number 1 [CD] (Nonesuch Records 7559-79793-2, 2002). 34 01 Unstructured citation 25 34 01 Unstructured citation Ivo Biegman. [Screen name], ‘Zar ritual in Egypt’, YouTube, 19 May 2011 [online video recording], https://www.youtube.com/watch?v=YNiUc4W5Kzo&list=RDYNiUc4W5Kzo#t=517 34 01 Unstructured citation 26 34 01 Unstructured citation ‘Zar Omdurman’ [Liner notes and compilation by Peter Verney]. On Rough Guide to Sudan, Track Number 7 [CD]. (World Music Network—RGNET 1152, 2005). 34 01 Unstructured citation 27 34 01 Unstructured citation ‘Danse, Bozok Semahi’ [Liner notes by Jean During and Jerome Cler]. On Turquie: Ceremonie du Djem Alevi (Turkey: Djem Alevi Ceremony), Track Number 12 [CD] (Ocora C 560125, 1998). 34 01 Unstructured citation 28 34 01 Unstructured citation kabultransit [Screen name]. ‘Kabul Transit—Zikr’, YouTube, 7 November 2007 [online video recording], https://www.youtube.com/watch?v=_BvSLgJSBBY 34 01 Unstructured citation 29 34 01 Unstructured citation ‘Zikr’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 2 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 30 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Dhikr Ceremony in Iraq’, YouTube, 1 January 2009 [online video recording], https://www.youtube.com/watch?v=yyrK-oAo3DM&list=PL5B186F663D6F3052&index=2 34 01 Unstructured citation 31 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Qadiri Dhikr—God is Eternal’, YouTube, 8 December 2008 [online video recording], https://www.youtube.com/watch?v=lV52djNFcKk&index=1&list=PL5B186F663D6F3052 34 01 Unstructured citation 32 34 01 Unstructured citation ‘Zikr/ Du’a / Tekbir’ [Liner notes and recordings by Bernard Mauguin]. On Islamic Ritual from Kosovo, Track Number 2 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08055, 1974). 34 01 Unstructured citation 33 34 01 Unstructured citation ‘Islamic Ritual Zikr’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Syria: Islamic Ritual Zikr in Aleppo, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08013, 1975). 34 01 Unstructured citation 34 34 01 Unstructured citation ‘Zikr’ [Liner notes by David Stevens]. On Turquie: Musique Soufi, Track Number 1 [CD] (Ocora C559017, 1987). 34 01 Unstructured citation 35 34 01 Unstructured citation ‘Zikr-e Allah et percussions’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 1 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 36 34 01 Unstructured citation H. Shakkûr & Ensemble Al-Kindî [Performer], ‘Meditation’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 1, Track Number 2 [CD]. (Network Medien—26.982, 1997). 34 01 Unstructured citation 37 34 01 Unstructured citation Muhammad Al Ashiq [Performer], ‘Qasida: Saluha Limadha’ [Liner notes by Andre Jouve and Christian Poche]. On Archives De La Musique Arabe Vol. 1, Track Number 2 [CD] (Ocora C 558678, 1987). 34 01 Unstructured citation 38 34 01 Unstructured citation Mobarak & Molabakhsh Nuri [Performer], ‘Qalandari Tune’. On Troubadours of Allah: Sufi Music from the Indus Valley, Disc 1, Track Number 2 [CD] (Wergo SM 16172, 1999). 34 01 Unstructured citation 39 34 01 Unstructured citation Yâr Mohammad [Performer], ‘Qalandari Tune (Khorasani)’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 2, Track Number 10 [CD] (Network Medien—26.982, 1997). 34 01 Unstructured citation 40 34 01 Unstructured citation ‘Tamburah (Voice of the Lyre)’ [Liner notes and recordings by Dieter Christensen]. On Oman: Traditional Arts of the Sultanate of Oman, Track Number 7 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08211, 1993). 34 01 Unstructured citation 41 34 01 Unstructured citation O. Y. Traibi [Performer], ‘Zar’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Yemen: Traditional Music of the North, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08004, 1978). 34 01 Unstructured citation 42 34 01 Unstructured citation Ozman Khaled [Screen name], ‘ZAAR Ceremony at Qeshm’, YouTube, 18 April 2016 [online video recording], https://www.youtube.com/watch?v=gifUSI1RFCQ 34 01 Unstructured citation 43 34 01 Unstructured citation ‘Zikr’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 19 [CD]. (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 44 34 01 Unstructured citation Aznash Ensemble [Performer]. Konya Mystic Music Festival [Screen name], ‘Aznash Ensemble’, YouTube, 5 August 2013 [online video recording], https://www.youtube.com/watch?v=TiPqB4GNzT0&list=RDtx6dwa4u8Lg&index=11 34 01 Unstructured citation 45 34 01 Unstructured citation Swiatoslaw Wojtkowiak [Screen name], ‘Chechen Female Zikr: Opening’, YouTube, 16 December 2010 [online video recording], https://www.youtube.com/watch?v=tx6dwa4u8Lg 34 01 Unstructured citation 46 34 01 Unstructured citation S. Aqmoldaev [Performer], ‘Kertolghau’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 16 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 47 34 01 Unstructured citation T. S. Qalebov and S. Tawarov [Performer], ‘Madh’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 18 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 48 34 01 Unstructured citation Supergnak [Screen name], ‘Le tour du monde en musique: Kazakhstan—Le kobyz du chaman’, YouTube, 14 January 2010 [online video recording], https://www.youtube.com/watch?v=5M6DA5w6aCc 34 01 Unstructured citation 49 34 01 Unstructured citation ‘Shod-i Uforash and Ufor-i Tezash: Dilbaram Shumo’ [Liner notes and recordings by Ted Levin]. On Bukhara: Musical Crossroads of Asia, Track Number 1 [CD] (Smithsonian Folkways Recordings SFW40050, 1991). 34 01 Unstructured citation 50 34 01 Unstructured citation ‘Cérémonie De Propitiation De Nag-Zhig’ [Liner notes and recording by Ricardo Canzio]. On Tibet: Traditions Rituelles Des Bonpos, Track Number 2 [CD] (Ocora C 580016, 1993). 34 01 Unstructured citation 51 34 01 Unstructured citation ‘Shamanic Bear Session’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 1—Shamanic & Narrative Songs of Siberian Arctic, Track Number 12 [CD] (Buda Musique—925642, 1995). 34 01 Unstructured citation 52 34 01 Unstructured citation O. A. Njavan [Performer], ‘Song, Kkas Drum and Jampa Jingle Belt, Imitation of Kamlanie’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 6: Sakhalin—Vocal & Instrumental Music, Nivkh Ujl’ta, Track Number 8 [CD] (Buda Musique—927212, 1998). 34 01 Unstructured citation 53 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 8 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 54 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 27 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 55 34 01 Unstructured citation ‘Pei-tou Liturgy (Great Bear Liturgy)’ [Produced by John Levy]. On Chinese Buddhist Music, Track Number 6 [CD] (Lyrichord—LLST 7222, 2004). 34 01 Unstructured citation 56 34 01 Unstructured citation ‘Dai Hannya Tendoku E’ [Liner notes by Toshiro Kido and Pierre Landy]. On Japan: Shomyo Buddhist Ritual—Dai Hannya Ceremony, Track Number 1, 17:00–31:42 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08036, 1975). 34 01 Unstructured citation 57 34 01 Unstructured citation ‘Sinawi’ [Liner notes and recording by Kwon Oh Sung]. On Korea: Folkloric Instrumental Traditions, Vol. 1: Sinawi and Sanjo, Track Number 1 [CD] (JVC Ethnic Sound Series #25, JVC VID- 25020, 1988). 34 01 Unstructured citation 58 34 01 Unstructured citation O-Suwa-Daiko [Performer]. ‘Ama-No-Naru Tatsu-O Dai-Kagura’ [Liner notes by Iyori Takei]. On Japan: O-Suwa-Daiko Drums, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08030, 1978). 34 01 Unstructured citation 59 34 01 Unstructured citation ‘Rimse’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 4 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 60 34 01 Unstructured citation M. K. Seo [Author and Recorder], ‘Tangak’. In the CD of the book Hanyang Kut: Korean Shaman Ritual Music from Seoul (Current Research in Ethnomusicology: Outstanding Dissertations), Track, Number 20, pp. 165, 171, and 194 (New York & London: Routledge, 2002). 34 01 Unstructured citation 61 34 01 Unstructured citation B. Salchak [Performer], ‘Kham [Shaman Ritual]’ [Liner notes and recording by Dina Oiun]. On Voices from the Distant Steppe, Track Number 16 [CD] (Real World Records—CDRW41, 1994). 34 01 Unstructured citation 62 34 01 Unstructured citation K. Yokoyama [Performer], ‘Ko-ku (Vacuity)’ [Liner notes by Akira Tamba]. On Japon, Kinshi Turata—Katsuya Yokoyama, Track Number 2 [CD] (Ocora C 558518 1994). 34 01 Unstructured citation 63 34 01 Unstructured citation V. G. Anastasija [Performer], ‘Vocals and Jajar Frame Drum: A Song for the Khololo Celebration’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 4 Kamtchatka: Dance Drums from Siberian Far East, Track Number 15 [CD] (Buda Musique—925982, 1994). 34 01 Unstructured citation 64 34 01 Unstructured citation ‘Tus’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 10 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 65 34 01 Unstructured citation ‘Upopo’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 66 34 01 Unstructured citation ‘Smaon’ [Liner notes by John Schaefer and recording by David Parsons]. On The Music of Cambodia (Royal Court Music), Track Number 19 [CD] (Celestial Harmonies 13075-2, 1993). 34 01 Unstructured citation 67 34 01 Unstructured citation ‘Beliatn Sentiyu Suite’ (excerpt) [Liner notes and recording by Philip Yampolsky]. On Music of Indonesia, Vol. 17: Kalimantan: Dayak Ritual and Festival Music, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40444, 1998). 34 01 Unstructured citation 68 34 01 Unstructured citation P. Pargi Mina [Performer] (1984), ‘Devi Ambav ro dhak’ [Recording by David Roche]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 13 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 69 34 01 Unstructured citation ‘Buddhist Ritual Music and Chant in Honor of A-phyi’ (1976). [Recording by Mireille Helffer]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 24 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 70 34 01 Unstructured citation ‘Ritual Chanting (Ngāyung) of Mediums (to Rid the Settlement of Malign Forest Spirits) [Produced by Harold C. Conklin]. On Hanunóo Music from the Philippines, Side 1, Band 11 [LP] (Ethnic Folkways Library ‎FE 4466, 1956). 34 01 Unstructured citation 71 34 01 Unstructured citation ‘Châu Văn’ [Liner notes by Trần Văn Khê]. On Viêtnam Musique de Huê: Chants de Huê et Musique de Cour, Track Number 18 [CD] (Inedit—W 260073, 2005). 34 01 Unstructured citation 72 34 01 Unstructured citation ‘Dabuih’ [Produced by Margaret J. Kartomi]. On The Music of Islam, Vol. 15: Muslim Music Of Indonesia, Aceh And West Sumatra, Disc 1, Track Number 16 [CD] (Celestial Harmonies 14232, 1998). 34 01 Unstructured citation 73 34 01 Unstructured citation ‘Dzikir Samman: Allahu Allah’ [Produced by Philip Yampolsky]. On Music of Indonesia, Vol. 19: Music of Maluku: Halmahera, Buru, Kei, Track Number 17 [CD] (Smithsonian Folkways Recordings SFW40446, 1999). 34 01 Unstructured citation 74 34 01 Unstructured citation ‘Gamelan Salunding, Tenganan—Gending Sekar Gadung’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 5 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 75 34 01 Unstructured citation ‘Musique des anciennes cérémonies religieuses avec une guru sibaso: Begu deleng/ Odak-odak/ Pertang-tang sabe/ Peseluken’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 2 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 76 34 01 Unstructured citation ‘Gondang “Pangelek-elek Ni Jujungan Ro”’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 5 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 77 34 01 Unstructured citation ‘Kecak From Blakiuh Near Mengwi’ [Liner notes by Wolfgang Hamm and Rika Reissler]. On Bali: A Suite of Tropical Music and Sound, Track Number 9 [CD] (World Network 35, 1995). 34 01 Unstructured citation 78 34 01 Unstructured citation ‘Sekaha Ganda Sari, Bona—Kecak’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 8 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 79 34 01 Unstructured citation ‘Kuda Kepang’. On The Ethnic Sampler 4, Track Number 25 [CD] (APM Music, Sonoton—SAS 107, 1995). 34 01 Unstructured citation 80 34 01 Unstructured citation ‘Phléng khlom’ [Liner notes and recording by Jacques Brunet]. On Cambodia: Folk and Ceremonial Music, Track Number 12 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08068, 1996). 34 01 Unstructured citation 81 34 01 Unstructured citation ‘Pheng Phi Fa’ [Liner notes and recording by Jacques Brunet]. On Laos—Traditional Music Of The South, Track Number 1 [CD] (UNESCO—D 8042, 1992). 34 01 Unstructured citation 82 34 01 Unstructured citation ‘Nanduni Pattu—Song to Bhadrakali’ [Liner notes and recordings by Rolf Killius]. On Ritual Music of Kerala, Track Number 5 [CD] (Archives and Research Centre for Ethnomusicology—ARCE00028, 2008). 34 01 Unstructured citation 83 34 01 Unstructured citation ‘Burmese “Pwe”’ [Liner notes and recording by the collection of La Meri]. On Exotic Dances, Track Number 4 [LP] (Folkways Records FP 52, 1950). 34 01 Unstructured citation 84 34 01 Unstructured citation ‘A Healing Ceremony at Kg’ [Liner notes and compilation by Marina Roseman]. On Dream Songs and Healing Sounds in the Rainforests of Malaysia, Track Number 10 [CD] (Smithsonian Folkways Recordings SFW40417, 1995). 34 01 Unstructured citation 85 34 01 Unstructured citation ‘Piphat Mon: Spirit Dance’ [Liner notes by Andrew Shahriari]. On Silk, Spirits and Song—Music from North Thailand, Track Number 12 [CD] (Lyrichord—LYRCD 7451, 2006). 34 01 Unstructured citation 86 34 01 Unstructured citation ‘Perdjuritan (Soldiers Dance)’ [Edited by Henry Cowell]. On Music of Indonesia, Track Number 7 [CD] (Folkways Records FE 4537, 1961). 34 01 Unstructured citation 87 34 01 Unstructured citation ‘Invocation to the Goddess Yeshiki Mamo (Tantric Puja) Part II’ [Recording by Manfred Junius and P. C. Misra]. On The Lamas of The Nyingmapa Monastery of Dehra Dun—Tibetan Ritual, Track Number 2 [CD]. (UNESCO Collection of Traditional Music of the World Series, Auvidis ‎– D 8034, 1991). 34 01 Unstructured citation 88 34 01 Unstructured citation ‘Salai Jin, Pt. 2’ [Produced by Margaret J. Kartomi]. On Music of Indonesia: Maluku & North Maluku, Disc 1, Track Number 5 [CD] (Celestial Harmonies 14232, 2003). 34 01 Unstructured citation 89 34 01 Unstructured citation ‘Bandina Devi ninna charana’ [Liner notes and recordings by Luisse Gunnel]. On Inde: Rythmes et Chants du Nord—Karnataka, Rythmes—Comptines, Chants dévotionnels, Track Number 43 [CD] (Buda Musique—1978542, 2001). 34 01 Unstructured citation 90 34 01 Unstructured citation ‘Tovil (Drum Dance)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 1 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 91 34 01 Unstructured citation ‘Kohomba Kankariya (Dance Ritual)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 2 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 92 34 01 Unstructured citation ‘Baha Festival Dance’ [Liner notes and recordings by Deben Bhattacharya (1973)]. On Music of the Santal Tribe, Track Number 11 [CD] (ARC Music Productions EUCD2510, 2014). 34 01 Unstructured citation 93 34 01 Unstructured citation ‘Uunu’ [Liner notes and recording by Hugo Zemp]. On Solomon Islands: Fataleka and Baegu Music from Malaita, Track Number 1 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08027, 1973). 34 01 Unstructured citation 94 34 01 Unstructured citation ‘Kabu Kei Conua Group [Performer], ‘Yavulo, Yavulo, Vuni Maqo E Buto’ [Liner notes by Ad Linkels]. On Viti Levu: The Multicultural Heart of Fiji, Track Number 14 [CD] (Pan 2096, 2000). 34 01 Unstructured citation 95 34 01 Unstructured citation ‘Seance Gisalo Song by Aiba with Weeping’ [Liner notes and recording by Steven Feld]. On Bosavi: Rainforest Music from Papua New Guinea, Disc Number 3, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40487, 2001). 34 01 Unstructured citation 96 34 01 Unstructured citation ‘Songs of the Spirits (Newet)—Lo, Torres’ [Liner notes by Alexandre François and Monika Stern]. On Music of Vanuatu: Celebrations and Mysteries, Track Number 39 [CD] (Inedit—W 260147, 2013). 34 01 Unstructured citation 97 34 01 Unstructured citation ‘Alujà de Xangô Aira’ (2005). On Brésil: Les Eaux D’Oxala—Afro-Brazilian Ritual: Candomblé, Track Number 8 [CD] (Buda Musique 92576-2, 1973). 34 01 Unstructured citation 98 34 01 Unstructured citation ‘Shipibo Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 12 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 99 34 01 Unstructured citation ‘Selk’ham-Tierra del Fuego-Arrow Ordeal Chant’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 2, Track Number 14 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 100 34 01 Unstructured citation ‘Kumanti’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 20 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 101 34 01 Unstructured citation ‘Warao Male Hoarotu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 102 34 01 Unstructured citation ‘Curing Ritual’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 1, Track Number 19 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 103 34 01 Unstructured citation ‘Warao Male Wisiratu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 104 34 01 Unstructured citation ‘Yanomamö Male Shaman’s Curing Song’ [Recorded by Pitts Collection]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 1 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 105 34 01 Unstructured citation ‘Yekuana Male Shaman’s Curing Song’ [Recorded by Walter Coppens]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 2 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 106 34 01 Unstructured citation ‘Healing Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 11 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 107 34 01 Unstructured citation ‘Shango Cult: Annual Ceremony in a Rural Area’ [Liner notes and recordings by George Eaton Simpson]. On Cult Music of Trinidad, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04478/FE 4478, 1961). 34 01 Unstructured citation 108 34 01 Unstructured citation ‘Shamanistic Ritual: The Dance’ [Liner notes and recordings by Peter Kloos]. On The Maroni River Caribs of Surinam, Track Number 11 [CD] (Pan PANKCD4005, 1997). 34 01 Unstructured citation 109 34 01 Unstructured citation ‘Winti Medley’ [Liner notes and recordings by Clifford Entes]. On Creole Music of Surinam, Track Number 8, 33:25’ [CD] (Smithsonian Folkways Recordings/Folkways Records FW04233/FE 4233, 1978). 34 01 Unstructured citation 110 34 01 Unstructured citation ‘Abelagudahani’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 1 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 111 34 01 Unstructured citation Gropo Laka [Performer], ‘Danca de tambor pulaya / Pulaya Drum Dance’ [Liner notes and production by Sten Sandahl]. On Music from Honduras, Disc 1, Track Number 3 [CD] (Caprice Records CAP 21632, 2000). 34 01 Unstructured citation 112 34 01 Unstructured citation ‘Salve’ [Recorded and produced by Isidro Bobadilla and Morton Marks]. On Afro-Dominican Music from San Cristobal, Dominican Republic, Track Number 3 [CD] (Smithsonian Folkways Recording/Folkways Records FW04285/FE 4285, 1983). 34 01 Unstructured citation 113 34 01 Unstructured citation ‘Kumina “Bailo”’ [Recorded and produced by Edward P.G. Seaga]. On Folk Music of Jamaica, Track Number 4 [CD] (Folkways Records FW04453/FE 4453, 1956). 34 01 Unstructured citation 114 34 01 Unstructured citation Jo Leh [Recorded and produced by Kenneth M. Bilby]. On Drums of Defiance: Maroon Music from the Earliest Free Black Communities of Jamaica, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40412, 1992). 34 01 Unstructured citation 115 34 01 Unstructured citation ‘Vodoun Dance (Three Vodoun Drums)’ [Liner notes and recordings by Harold Courlander]. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 1 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 116 34 01 Unstructured citation ‘Petro Dance (Two Drums)’. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 5 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 117 34 01 Unstructured citation ‘Bear Dance’ [Produced by Gertrude Prokosch Kurath]. On Songs and Dances of the Great Lakes Indians, Disc 1, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04003/FE 4003, 1956). 34 01 Unstructured citation 118 34 01 Unstructured citation ‘Peyote Song: First Song Cycle’ [Produced by Michael Asch]. On Anthology of North American Indian and Eskimo Music, Disc 1, Track Number 13 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04541/FE 4541, 1973). 34 01 Unstructured citation 119 34 01 Unstructured citation ‘Peyote Song’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 31 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 120 34 01 Unstructured citation ‘Crown Dance’ [Produced by Charlotte Heth and Terence Winch]. On Creation’s Journey: Native American Music, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40410, 1994). 34 01 Unstructured citation 121 34 01 Unstructured citation ‘Drum Dance’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 12 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 122 34 01 Unstructured citation Peter Webster [Performer], ‘Medicine Man Song’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 1, Track Number 4 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 34 01 Unstructured citation 123 34 01 Unstructured citation ‘Huichol—Peyote Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 9 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 124 34 01 Unstructured citation ‘Yaqui—Deer Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 8 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 125 34 01 Unstructured citation ‘Wolf Dance’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 2, Track Number 2 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 11 03 06 10.11647/obp.0403.09 193 208 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 9. An Ethnomusicology of Spiritual Realities 1 A01 21 0000000152001943 Jeffers Engelhardt Jeffers Engelhardt Professor of Music 40 028vqfs63 Amherst College 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeffers Engelhardt 12 03 06 10.11647/obp.0403.10 209 232 24 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 1 A01 21 0000000325006348 Bernard Łukasz Sawicki Bernard Łukasz Sawicki Associate Professor in Theology 40 02pn9ep17 Pontificio Ateneo Sant'Anselmo 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). 01 eng 03 00 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.<break/>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. 30 00 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.<break/>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. 20 00 Open Access Bernard Łukasz Sawicki OSB 13 03 06 10.11647/obp.0403.11 233 254 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 11. Spiritual Subjects Musicking, Biography, and the Connections We Make 1 A01 21 0000000208081701 Maeve Louise Heaney Maeve Louise Heaney Associate Professor in the Faculty of Theology and Philosophy, and the Xavier Chair for Theological Formation 40 04cxm4j25 Australian Catholic University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Maeve Louise Heaney VDMF 14 03 06 10.11647/obp.0403.12 255 270 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 12. The Impetus to Compose Where is Fantasy Bred? 1 A01 21 0000000166852589 Richard E. McGregor Richard E. McGregor Professor Emeritus of Music 40 05gd22996 University of Cumbria 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Richard E. McGregor 15 03 06 10.11647/obp.0403.13 273 284 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 13. Music in Christian Services as a Means to Induce Religious Feelings 1 A01 21 0000000236594731 Melanie Wald-Fuhrmann Melanie Wald-Fuhrmann Professor of Systematic Musicology 40 04cvxnb49 Goethe University Frankfurt 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Melanie Wald-Fuhrmann 16 03 06 10.11647/obp.0403.14 285 304 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 14. Spiritual Cultures Innovations in Choral and Classical Music 1 A01 21 0009000474739753 Jonathan Arnold Jonathan Arnold 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jonathan Arnold 17 03 06 10.11647/obp.0403.15 305 326 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 15. Listening to the Lived Experiences of Worshippers A Study of Post-Pandemic Mixed Ecology Worship 1 A01 21 0009000085950985 Elspeth Manders Elspeth Manders Doctoral Student 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Elspeth Manders 18 03 06 10.11647/obp.0403.16 327 354 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 1 A01 21 0009000054666017 Tihomir Lazić Tihomir Lazić Senior Lecturer in Systematic Theology 40 0312t3r96 Newbold College of Higher Education 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Tihomir Lazić 19 03 06 10.11647/obp.0403.17 355 370 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 17. Choral Singers and Spiritual Realities A Perspective from St Mary’s Catholic Cathedral 1 A01 21 000900004430088X Michael Ferguson Michael Ferguson Lecturer and Coordinator of Academic Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael Ferguson 20 03 06 10.11647/obp.0403.18 371 388 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 18. Music and Spirituality in Communal Song Methodists and Welsh Sporting Crowds 1 A01 21 0000000216212679 Martin V. Clarke Martin V. Clarke Senior Lecturer in Music 40 05mzfcs16 The Open University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Martin V. Clarke 21 03 06 10.11647/obp.0403.19 389 398 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Afterword ‘A Psychologist’s Perspective’ 1 A01 21 0000000193754474 John Sloboda John Sloboda Emeritus Professor 40 00340yn33 Keele University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access John Sloboda 01 URL https://www.openbookpublishers.com/ Open Book Publishers 01 Open Book Publishers 01 Publisher's website: home page https://www.openbookpublishers.com/ 02 Publisher's website: webpage for this title https://www.openbookpublishers.com/books/10.11647/OBP.0403 16 40 02wn5qz54 32 10.13039/501100000740 University of St Andrews 01 programname University of St Andrews’ Institutional Open Access Fund 16 40 02q53mk25 32 10.13039/501100013437 Templeton Religion Trust Cambridge, UK 04 01 20240628 George Corbett Sarah Moerman. Copyright of individual chapters are maintained by the chapter author(s). 02 WORLD 06 15 9781805113034 03 9781805113034 06 15 9781805113041 03 9781805113041 06 15 9781805113072 03 9781805113072 06 15 9781805113058 03 9781805113058 34 06 10.1086/421160 34 06 10.1371/journal.pone.0263384 34 01 Unstructured citation Adorno, Theodor W., ‘On the Fetish-Character in Music and the Regression of Listening’, in The Culture Industry: Selected Essays on Mass Culture, ed. by J. M. 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Steinhoff and Jeffrey T. Zalar (Berlin: De Gruyter, forthcoming). 34 06 10.1093/oxfordhb/9780198718406.013.40 34 06 10.4324/9780429492020-8 34 06 10.1093/oxfordhb/9780190616922.013.21 WORLD 09 Open Book Publishers 02 Publisher's website: webpage for this product https://www.openbookpublishers.com/books/10.11647/obp.0403 29 Publisher's website: download the title https://www.openbookpublishers.com/books/10.11647/obp.0403 20 08 20240628 02 68.95 AUD WORLD 02 75.95 CAD WORLD 02 42.95 EUR WORLD 02 35.95 GBP WORLD 02 51.95 USD WORLD urn:uuid:7ae7205f-2cd2-44a9-9867-7ffc4abdbe11 03 01 01 thoth-work-id urn:uuid:94c92bfe-5893-4c4d-95b0-9ea2d380b030 01 thoth-publication-id urn:uuid:7ae7205f-2cd2-44a9-9867-7ffc4abdbe11 15 9781805113034 03 9781805113034 06 10.11647/OBP.0403 23 1443868876 00 BB 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 37 mm 03 3.7 cm 03 1.46 in 08 1084 gr 08 38.237 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Music and Spirituality Theological Approaches, Empirical Methods, and Christian Worship 1 B01 21 0000000270433253 George Corbett George Corbett Professor of Theology, School of Divinity 40 02wn5qz54 University of St Andrews 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). 2 B01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 00 478 03 09 18 11 2 12 AVA 93 AVLK 10 MUS048000 B2 Music B2 Archaeology and Religion 12 AVGD 93 AVLA 10 MUS048010 93 AVA 12 HRCR 10 REL055000 93 QRVJ1 20 Spiritual; Western culture; Christianity; Musicology; Ethnomusicology; Neuroscience 01 06 02 00 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 – incl 03 00 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. 30 00 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. 04 00 Acknowledgments Notes on Contributors Introduction Foreword: A Composer’s Perspective I. THEOLOGICAL APPROACHES 1. Encountering the Uncontrollable: Music’s Resistance to Reductionism and Its Theological Ramifications 2. Cross and Consolation: Music’s Empathic Spirituality 3. Music, Breath, and Spirit 4. An Adorative Posture towards Music and Spiritual Realities 5. Religion, Science, and Music: An Augustinian Trinity 6. Dissonant Spirituality: A Hermeneutical Aesthetics of Outlaw Country II. EMPIRICAL METHODS 7. From the Sacred to the Ordinary through the Lens of Psychological Science 8. An Inquiry into Musical Trance 9. An Ethnomusicology of Spiritual Realities 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 11. Spiritual Subjects: Musicking, Biography, and the Connections We Make 12. The Impetus to Compose: Where is Fantasy Bred? III. CHRISTIAN WORSHIP 13. Music in Christian Services as a Means to Induce Religious Feelings 14. Spiritual Cultures: Innovations in Choral and Classical Music 15. Listening to the Lived Experiences of Worshippers: A Study of Post-Pandemic Mixed Ecology Worship 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 17. Choral Singers and Spiritual Realities:A Perspective from St Mary’s Catholic Cathedral 18. Music and Spirituality in Communal Song: Methodists and Welsh Sporting Crowds Afterword: A Psychologist’s Perspective List of Figures and Tables Bibliography Index 20 00 Open Access 01 00 03 02 https://books.openbookpublishers.com/10.11647/obp.0403_frontcover.jpg 1 03 06 10.11647/obp.0403.20 1 12 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000270433253 George Corbett George Corbett Professor of Theology 40 02wn5qz54 University of St Andrews 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). 2 A01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access George Corbett and Sarah Moerman 2 03 06 10.11647/obp.0403.00 13 18 6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Foreword A Composer’s Perspective’ 1 A01 James MacMillan James MacMillan Professor 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access James MacMillan 3 03 06 10.11647/obp.0403.01 21 40 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 1. Encountering the Uncontrollable Music’s Resistance to Reductionism and its Theological Ramifications 1 A01 21 000900037406316X Jeremy Begbie Jeremy Begbie Thomas A. Langford Distinguished Research Professor of Theology 40 00py81415 Duke University 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) 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeremy Begbie 4 03 06 10.11647/obp.0403.02 41 54 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 2. Cross and Consolation Music’s Empathic Spirituality 1 A01 21 0009000077135374 Peter C. Bouteneff Peter C. Bouteneff Professor of Systematic Theology and Kulik Professor of Sacred Arts 40 0428qkc73 Saint Vladimir's Orthodox Theological Seminary 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Peter C. Bouteneff 5 03 06 10.11647/obp.0403.03 55 72 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 3. Music, Breath, and Spirit 1 A01 21 0009000984620648 Michael O’Connor Michael O’Connor Associate Professor 40 03dbr7087 University of Toronto 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael O’Connor 6 03 06 10.11647/obp.0403.04 73 86 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 4. An Adorative Posture towards Music and Spiritual Realities 1 A01 21 0000000336492062 Férdia J. Stone-Davis Férdia J. Stone-Davis Director of Research at the Margaret Beaufort Institute 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Férdia J. Stone-Davis 7 03 06 10.11647/obp.0403.05 87 108 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 5. Religion, Science, and Music An Augustinian Trinity 1 A01 21 0000000274018989 Bennett Zon Bennett Zon Professor of Music 40 01v29qb04 Durham University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Bennett Zon 8 03 06 10.11647/obp.0403.06 109 136 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 6. Dissonant Spirituality A Hermeneutical Aesthetics of Outlaw Country 1 A01 21 0009000513590673 C.M. Howell C.M. Howell Doctoral Researcher 40 02wn5qz54 University of St Andrews C.M. Howell is a doctoral researcher at the University of St Andrews, where he is working on the theological aesthetics of Eberhard Jüngel. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Charles Howell 9 03 06 10.11647/obp.0403.07 139 158 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 7. From the Sacred to the Ordinary through the Lens of Psychological Science 1 A01 21 0000000315601418 Yeshaya David M. Greenberg Yeshaya David M. Greenberg Researcher 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access David M. Greenberg 10 03 06 10.11647/obp.0403.08 159 192 34 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 8. An Inquiry into Musical Trance 1 A01 21 0000000157680818 Dilara Turan Dilara Turan Research Assistant in the Department of Music 40 04pm4x478 Istanbul Bilgi University 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Dilara Turan 34 01 Unstructured citation D. Bernez [Performer], ‘Na Go De’ [Liner notes and recordings by Scott Kiehl]. On Akom: Art of Possession, Track Number 19 [CD] (Village Pulse VPU-1009, 2000). 34 01 Unstructured citation 1 34 01 Unstructured citation 2 34 01 Unstructured citation ‘An Evening with the Flute Ensemble’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 15 [CD], Museum Collection Berlin (WERGO—SM 17082, 2003). 34 01 Unstructured citation 3 34 01 Unstructured citation ‘Bartha, the Winner’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 14 [CD], Museum Collection Berlin (WERGO —SM 17082, 2003). 34 01 Unstructured citation 4 34 01 Unstructured citation ‘The Bata Repertoire for Shango in Sakété: Oba Koso’ [Liner notes and recordings by Carol Hardy, compilation by Marcos Branda-Lacerda]. On The World’s Musical Traditions, Vol. 8: Yoruba Drums from Benin, West Africa, Track Number 7 [CD] (Smithsonian Folkways Recordings 40440, 1996). 34 01 Unstructured citation 5 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘Bira Dance at Great Zimbabwe’, YouTube, 20 January 2013 [online video recording], https://www.youtube.com/watch?v=Pbs80p4-nGM 34 01 Unstructured citation 6 34 01 Unstructured citation ‘La Cérémonie Du Bobé’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 2 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 7 34 01 Unstructured citation ‘Le Bobé S’est Rapproché’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 3 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 8 34 01 Unstructured citation ‘Musique de Divination Diye’ [Liner notes and recordings by Simha Arom]. On Anthologie de la musique des Pygmées Aka = Musical anthology of the Aka Pygmies, Disc 2, Track Number 9 [CD] (Ocora C 560171/72, 2002). 34 01 Unstructured citation 9 34 01 Unstructured citation Foundation for Hausa Performing Arts, ‘Dodorido Koroso Dance Drama Segment 2 Bori Adept’, 8 January 2012 [online video recording], https://www.youtube.com/watch?v=hpjrw_VRW1Y 34 01 Unstructured citation 10 34 01 Unstructured citation ‘Music for the Buma Dance’ [Liner notes and recordings by Simha Arom & Patrick Renaud]. On Cameroon: Baka Pygmy Music, Disc 1, Track Number 1, 10 [CD] (Smithsonian Folkways Recordings/UNESCO, 1977). 34 01 Unstructured citation 11 34 01 Unstructured citation ‘Le Jeune Eland (Nang Tzema Tzi)’ [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 18 [CD] (Ocora C 560117, 1997). 34 01 Unstructured citation 12 34 01 Unstructured citation ‘Oryx (Go’e Tzi)’ (1997) [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 19 [CD] (Ocora 560117, 1997). 34 01 Unstructured citation 13 34 01 Unstructured citation Mtendeni Maulid Ensemble, ‘Dahala 3: Marihaba / Hua Maulana / Salat / Jalla Jalaluh / Khamsa Arkan / Man A’ala / Leo Mambo’ [Liner notes by Aïsha Schmitt]. On Zanzibara, Vol. 6—A Sufi Performance from Zanzibar, Track Number 3 [CD] (Buda Musique 860219, 2012). 34 01 Unstructured citation 14 34 01 Unstructured citation ‘Hadra Song: “Al hamdou lillahAlgeria”’ [Liner notes and recordings by Pierre Augier]. On Algeria: Sahara - Music of Gourara Disc 1, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO, 1975). 34 01 Unstructured citation 15 34 01 Unstructured citation ‘Jinele: chant de divination’ [Liner notes by Jean L. Jenkins, Ralph Harrisson and Ragnar Johnson]. On Ethiopie: musiques vocales et instrumentales, Disc 2, Track Number 10 [CD] (Ocora C 580055/56, 1994). 34 01 Unstructured citation 16 34 01 Unstructured citation ‘Būderbāla / Būḥāla’. On The Music Of Islām—Volume Six: Al-Maghrib, Gnāwa Music, Marrakesh, Morocco, Track Number 4 [CD] (Celestial Harmonies 13146-2, 1997). 34 01 Unstructured citation 17 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘The Mbira Ceremony’, YouTube, 18 May 2012 [online video recording], https://www.youtube.com/watch?v=OXBQbn6wZeQ 34 01 Unstructured citation 18 34 01 Unstructured citation ‘Molimo Song of Devotion to the Forest’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 26 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 19 34 01 Unstructured citation ‘Molimo Song: Darkness Is Good’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 25 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 20 34 01 Unstructured citation Gnawalux Brussels [Screen name], ‘Stambali 1—Gnawa Tunisie’, YouTube, 27 August 2008 [online video recording], https://www.youtube.com/watch?v=wK-UasuUtdo 34 01 Unstructured citation 21 34 01 Unstructured citation ‘Tazenkharet’ [Liner notes and recordings by Finola Holiday & Geoffrey Holiday]. On Tuareg Music of the Southern Sahar, Disc 1, Track Number 13 [CD] (Ethnic Folkways Library FE 4470, 1960). 34 01 Unstructured citation 22 34 01 Unstructured citation ‘Timgui’ [Liner notes and recordings by Charles Duvelle]. On Bariba—Bénin, Track Number 5 [CD] (Philips Music Group France 538721-2, 1999). 34 01 Unstructured citation 23 34 01 Unstructured citation Mwizenge Tembo [Screen name], ‘Vimbuza Dance Ritual Ceremony’, YouTube, 20 July 2008 [online video recording], https://www.youtube.com/watch?v=6wpsNQp1ci4 34 01 Unstructured citation 24 34 01 Unstructured citation ‘Alto Bung’o Horn (Kenya)’ [Compiled by Stephen Innocenzi]. On Africa, Music from the Nonesuch Explorer Series, Track Number 1 [CD] (Nonesuch Records 7559-79793-2, 2002). 34 01 Unstructured citation 25 34 01 Unstructured citation Ivo Biegman. [Screen name], ‘Zar ritual in Egypt’, YouTube, 19 May 2011 [online video recording], https://www.youtube.com/watch?v=YNiUc4W5Kzo&list=RDYNiUc4W5Kzo#t=517 34 01 Unstructured citation 26 34 01 Unstructured citation ‘Zar Omdurman’ [Liner notes and compilation by Peter Verney]. On Rough Guide to Sudan, Track Number 7 [CD]. (World Music Network—RGNET 1152, 2005). 34 01 Unstructured citation 27 34 01 Unstructured citation ‘Danse, Bozok Semahi’ [Liner notes by Jean During and Jerome Cler]. On Turquie: Ceremonie du Djem Alevi (Turkey: Djem Alevi Ceremony), Track Number 12 [CD] (Ocora C 560125, 1998). 34 01 Unstructured citation 28 34 01 Unstructured citation kabultransit [Screen name]. ‘Kabul Transit—Zikr’, YouTube, 7 November 2007 [online video recording], https://www.youtube.com/watch?v=_BvSLgJSBBY 34 01 Unstructured citation 29 34 01 Unstructured citation ‘Zikr’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 2 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 30 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Dhikr Ceremony in Iraq’, YouTube, 1 January 2009 [online video recording], https://www.youtube.com/watch?v=yyrK-oAo3DM&list=PL5B186F663D6F3052&index=2 34 01 Unstructured citation 31 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Qadiri Dhikr—God is Eternal’, YouTube, 8 December 2008 [online video recording], https://www.youtube.com/watch?v=lV52djNFcKk&index=1&list=PL5B186F663D6F3052 34 01 Unstructured citation 32 34 01 Unstructured citation ‘Zikr/ Du’a / Tekbir’ [Liner notes and recordings by Bernard Mauguin]. On Islamic Ritual from Kosovo, Track Number 2 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08055, 1974). 34 01 Unstructured citation 33 34 01 Unstructured citation ‘Islamic Ritual Zikr’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Syria: Islamic Ritual Zikr in Aleppo, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08013, 1975). 34 01 Unstructured citation 34 34 01 Unstructured citation ‘Zikr’ [Liner notes by David Stevens]. On Turquie: Musique Soufi, Track Number 1 [CD] (Ocora C559017, 1987). 34 01 Unstructured citation 35 34 01 Unstructured citation ‘Zikr-e Allah et percussions’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 1 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 36 34 01 Unstructured citation H. Shakkûr & Ensemble Al-Kindî [Performer], ‘Meditation’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 1, Track Number 2 [CD]. (Network Medien—26.982, 1997). 34 01 Unstructured citation 37 34 01 Unstructured citation Muhammad Al Ashiq [Performer], ‘Qasida: Saluha Limadha’ [Liner notes by Andre Jouve and Christian Poche]. On Archives De La Musique Arabe Vol. 1, Track Number 2 [CD] (Ocora C 558678, 1987). 34 01 Unstructured citation 38 34 01 Unstructured citation Mobarak & Molabakhsh Nuri [Performer], ‘Qalandari Tune’. On Troubadours of Allah: Sufi Music from the Indus Valley, Disc 1, Track Number 2 [CD] (Wergo SM 16172, 1999). 34 01 Unstructured citation 39 34 01 Unstructured citation Yâr Mohammad [Performer], ‘Qalandari Tune (Khorasani)’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 2, Track Number 10 [CD] (Network Medien—26.982, 1997). 34 01 Unstructured citation 40 34 01 Unstructured citation ‘Tamburah (Voice of the Lyre)’ [Liner notes and recordings by Dieter Christensen]. On Oman: Traditional Arts of the Sultanate of Oman, Track Number 7 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08211, 1993). 34 01 Unstructured citation 41 34 01 Unstructured citation O. Y. Traibi [Performer], ‘Zar’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Yemen: Traditional Music of the North, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08004, 1978). 34 01 Unstructured citation 42 34 01 Unstructured citation Ozman Khaled [Screen name], ‘ZAAR Ceremony at Qeshm’, YouTube, 18 April 2016 [online video recording], https://www.youtube.com/watch?v=gifUSI1RFCQ 34 01 Unstructured citation 43 34 01 Unstructured citation ‘Zikr’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 19 [CD]. (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 44 34 01 Unstructured citation Aznash Ensemble [Performer]. Konya Mystic Music Festival [Screen name], ‘Aznash Ensemble’, YouTube, 5 August 2013 [online video recording], https://www.youtube.com/watch?v=TiPqB4GNzT0&list=RDtx6dwa4u8Lg&index=11 34 01 Unstructured citation 45 34 01 Unstructured citation Swiatoslaw Wojtkowiak [Screen name], ‘Chechen Female Zikr: Opening’, YouTube, 16 December 2010 [online video recording], https://www.youtube.com/watch?v=tx6dwa4u8Lg 34 01 Unstructured citation 46 34 01 Unstructured citation S. Aqmoldaev [Performer], ‘Kertolghau’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 16 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 47 34 01 Unstructured citation T. S. Qalebov and S. Tawarov [Performer], ‘Madh’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 18 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 48 34 01 Unstructured citation Supergnak [Screen name], ‘Le tour du monde en musique: Kazakhstan—Le kobyz du chaman’, YouTube, 14 January 2010 [online video recording], https://www.youtube.com/watch?v=5M6DA5w6aCc 34 01 Unstructured citation 49 34 01 Unstructured citation ‘Shod-i Uforash and Ufor-i Tezash: Dilbaram Shumo’ [Liner notes and recordings by Ted Levin]. On Bukhara: Musical Crossroads of Asia, Track Number 1 [CD] (Smithsonian Folkways Recordings SFW40050, 1991). 34 01 Unstructured citation 50 34 01 Unstructured citation ‘Cérémonie De Propitiation De Nag-Zhig’ [Liner notes and recording by Ricardo Canzio]. On Tibet: Traditions Rituelles Des Bonpos, Track Number 2 [CD] (Ocora C 580016, 1993). 34 01 Unstructured citation 51 34 01 Unstructured citation ‘Shamanic Bear Session’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 1—Shamanic & Narrative Songs of Siberian Arctic, Track Number 12 [CD] (Buda Musique—925642, 1995). 34 01 Unstructured citation 52 34 01 Unstructured citation O. A. Njavan [Performer], ‘Song, Kkas Drum and Jampa Jingle Belt, Imitation of Kamlanie’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 6: Sakhalin—Vocal & Instrumental Music, Nivkh Ujl’ta, Track Number 8 [CD] (Buda Musique—927212, 1998). 34 01 Unstructured citation 53 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 8 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 54 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 27 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 55 34 01 Unstructured citation ‘Pei-tou Liturgy (Great Bear Liturgy)’ [Produced by John Levy]. On Chinese Buddhist Music, Track Number 6 [CD] (Lyrichord—LLST 7222, 2004). 34 01 Unstructured citation 56 34 01 Unstructured citation ‘Dai Hannya Tendoku E’ [Liner notes by Toshiro Kido and Pierre Landy]. On Japan: Shomyo Buddhist Ritual—Dai Hannya Ceremony, Track Number 1, 17:00–31:42 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08036, 1975). 34 01 Unstructured citation 57 34 01 Unstructured citation ‘Sinawi’ [Liner notes and recording by Kwon Oh Sung]. On Korea: Folkloric Instrumental Traditions, Vol. 1: Sinawi and Sanjo, Track Number 1 [CD] (JVC Ethnic Sound Series #25, JVC VID- 25020, 1988). 34 01 Unstructured citation 58 34 01 Unstructured citation O-Suwa-Daiko [Performer]. ‘Ama-No-Naru Tatsu-O Dai-Kagura’ [Liner notes by Iyori Takei]. On Japan: O-Suwa-Daiko Drums, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08030, 1978). 34 01 Unstructured citation 59 34 01 Unstructured citation ‘Rimse’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 4 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 60 34 01 Unstructured citation M. K. Seo [Author and Recorder], ‘Tangak’. In the CD of the book Hanyang Kut: Korean Shaman Ritual Music from Seoul (Current Research in Ethnomusicology: Outstanding Dissertations), Track, Number 20, pp. 165, 171, and 194 (New York & London: Routledge, 2002). 34 01 Unstructured citation 61 34 01 Unstructured citation B. Salchak [Performer], ‘Kham [Shaman Ritual]’ [Liner notes and recording by Dina Oiun]. On Voices from the Distant Steppe, Track Number 16 [CD] (Real World Records—CDRW41, 1994). 34 01 Unstructured citation 62 34 01 Unstructured citation K. Yokoyama [Performer], ‘Ko-ku (Vacuity)’ [Liner notes by Akira Tamba]. On Japon, Kinshi Turata—Katsuya Yokoyama, Track Number 2 [CD] (Ocora C 558518 1994). 34 01 Unstructured citation 63 34 01 Unstructured citation V. G. Anastasija [Performer], ‘Vocals and Jajar Frame Drum: A Song for the Khololo Celebration’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 4 Kamtchatka: Dance Drums from Siberian Far East, Track Number 15 [CD] (Buda Musique—925982, 1994). 34 01 Unstructured citation 64 34 01 Unstructured citation ‘Tus’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 10 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 65 34 01 Unstructured citation ‘Upopo’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 66 34 01 Unstructured citation ‘Smaon’ [Liner notes by John Schaefer and recording by David Parsons]. On The Music of Cambodia (Royal Court Music), Track Number 19 [CD] (Celestial Harmonies 13075-2, 1993). 34 01 Unstructured citation 67 34 01 Unstructured citation ‘Beliatn Sentiyu Suite’ (excerpt) [Liner notes and recording by Philip Yampolsky]. On Music of Indonesia, Vol. 17: Kalimantan: Dayak Ritual and Festival Music, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40444, 1998). 34 01 Unstructured citation 68 34 01 Unstructured citation P. Pargi Mina [Performer] (1984), ‘Devi Ambav ro dhak’ [Recording by David Roche]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 13 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 69 34 01 Unstructured citation ‘Buddhist Ritual Music and Chant in Honor of A-phyi’ (1976). [Recording by Mireille Helffer]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 24 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 70 34 01 Unstructured citation ‘Ritual Chanting (Ngāyung) of Mediums (to Rid the Settlement of Malign Forest Spirits) [Produced by Harold C. Conklin]. On Hanunóo Music from the Philippines, Side 1, Band 11 [LP] (Ethnic Folkways Library ‎FE 4466, 1956). 34 01 Unstructured citation 71 34 01 Unstructured citation ‘Châu Văn’ [Liner notes by Trần Văn Khê]. On Viêtnam Musique de Huê: Chants de Huê et Musique de Cour, Track Number 18 [CD] (Inedit—W 260073, 2005). 34 01 Unstructured citation 72 34 01 Unstructured citation ‘Dabuih’ [Produced by Margaret J. Kartomi]. On The Music of Islam, Vol. 15: Muslim Music Of Indonesia, Aceh And West Sumatra, Disc 1, Track Number 16 [CD] (Celestial Harmonies 14232, 1998). 34 01 Unstructured citation 73 34 01 Unstructured citation ‘Dzikir Samman: Allahu Allah’ [Produced by Philip Yampolsky]. On Music of Indonesia, Vol. 19: Music of Maluku: Halmahera, Buru, Kei, Track Number 17 [CD] (Smithsonian Folkways Recordings SFW40446, 1999). 34 01 Unstructured citation 74 34 01 Unstructured citation ‘Gamelan Salunding, Tenganan—Gending Sekar Gadung’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 5 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 75 34 01 Unstructured citation ‘Musique des anciennes cérémonies religieuses avec une guru sibaso: Begu deleng/ Odak-odak/ Pertang-tang sabe/ Peseluken’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 2 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 76 34 01 Unstructured citation ‘Gondang “Pangelek-elek Ni Jujungan Ro”’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 5 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 77 34 01 Unstructured citation ‘Kecak From Blakiuh Near Mengwi’ [Liner notes by Wolfgang Hamm and Rika Reissler]. On Bali: A Suite of Tropical Music and Sound, Track Number 9 [CD] (World Network 35, 1995). 34 01 Unstructured citation 78 34 01 Unstructured citation ‘Sekaha Ganda Sari, Bona—Kecak’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 8 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 79 34 01 Unstructured citation ‘Kuda Kepang’. On The Ethnic Sampler 4, Track Number 25 [CD] (APM Music, Sonoton—SAS 107, 1995). 34 01 Unstructured citation 80 34 01 Unstructured citation ‘Phléng khlom’ [Liner notes and recording by Jacques Brunet]. On Cambodia: Folk and Ceremonial Music, Track Number 12 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08068, 1996). 34 01 Unstructured citation 81 34 01 Unstructured citation ‘Pheng Phi Fa’ [Liner notes and recording by Jacques Brunet]. On Laos—Traditional Music Of The South, Track Number 1 [CD] (UNESCO—D 8042, 1992). 34 01 Unstructured citation 82 34 01 Unstructured citation ‘Nanduni Pattu—Song to Bhadrakali’ [Liner notes and recordings by Rolf Killius]. On Ritual Music of Kerala, Track Number 5 [CD] (Archives and Research Centre for Ethnomusicology—ARCE00028, 2008). 34 01 Unstructured citation 83 34 01 Unstructured citation ‘Burmese “Pwe”’ [Liner notes and recording by the collection of La Meri]. On Exotic Dances, Track Number 4 [LP] (Folkways Records FP 52, 1950). 34 01 Unstructured citation 84 34 01 Unstructured citation ‘A Healing Ceremony at Kg’ [Liner notes and compilation by Marina Roseman]. On Dream Songs and Healing Sounds in the Rainforests of Malaysia, Track Number 10 [CD] (Smithsonian Folkways Recordings SFW40417, 1995). 34 01 Unstructured citation 85 34 01 Unstructured citation ‘Piphat Mon: Spirit Dance’ [Liner notes by Andrew Shahriari]. On Silk, Spirits and Song—Music from North Thailand, Track Number 12 [CD] (Lyrichord—LYRCD 7451, 2006). 34 01 Unstructured citation 86 34 01 Unstructured citation ‘Perdjuritan (Soldiers Dance)’ [Edited by Henry Cowell]. On Music of Indonesia, Track Number 7 [CD] (Folkways Records FE 4537, 1961). 34 01 Unstructured citation 87 34 01 Unstructured citation ‘Invocation to the Goddess Yeshiki Mamo (Tantric Puja) Part II’ [Recording by Manfred Junius and P. C. Misra]. On The Lamas of The Nyingmapa Monastery of Dehra Dun—Tibetan Ritual, Track Number 2 [CD]. (UNESCO Collection of Traditional Music of the World Series, Auvidis ‎– D 8034, 1991). 34 01 Unstructured citation 88 34 01 Unstructured citation ‘Salai Jin, Pt. 2’ [Produced by Margaret J. Kartomi]. On Music of Indonesia: Maluku & North Maluku, Disc 1, Track Number 5 [CD] (Celestial Harmonies 14232, 2003). 34 01 Unstructured citation 89 34 01 Unstructured citation ‘Bandina Devi ninna charana’ [Liner notes and recordings by Luisse Gunnel]. On Inde: Rythmes et Chants du Nord—Karnataka, Rythmes—Comptines, Chants dévotionnels, Track Number 43 [CD] (Buda Musique—1978542, 2001). 34 01 Unstructured citation 90 34 01 Unstructured citation ‘Tovil (Drum Dance)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 1 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 91 34 01 Unstructured citation ‘Kohomba Kankariya (Dance Ritual)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 2 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 92 34 01 Unstructured citation ‘Baha Festival Dance’ [Liner notes and recordings by Deben Bhattacharya (1973)]. On Music of the Santal Tribe, Track Number 11 [CD] (ARC Music Productions EUCD2510, 2014). 34 01 Unstructured citation 93 34 01 Unstructured citation ‘Uunu’ [Liner notes and recording by Hugo Zemp]. On Solomon Islands: Fataleka and Baegu Music from Malaita, Track Number 1 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08027, 1973). 34 01 Unstructured citation 94 34 01 Unstructured citation ‘Kabu Kei Conua Group [Performer], ‘Yavulo, Yavulo, Vuni Maqo E Buto’ [Liner notes by Ad Linkels]. On Viti Levu: The Multicultural Heart of Fiji, Track Number 14 [CD] (Pan 2096, 2000). 34 01 Unstructured citation 95 34 01 Unstructured citation ‘Seance Gisalo Song by Aiba with Weeping’ [Liner notes and recording by Steven Feld]. On Bosavi: Rainforest Music from Papua New Guinea, Disc Number 3, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40487, 2001). 34 01 Unstructured citation 96 34 01 Unstructured citation ‘Songs of the Spirits (Newet)—Lo, Torres’ [Liner notes by Alexandre François and Monika Stern]. On Music of Vanuatu: Celebrations and Mysteries, Track Number 39 [CD] (Inedit—W 260147, 2013). 34 01 Unstructured citation 97 34 01 Unstructured citation ‘Alujà de Xangô Aira’ (2005). On Brésil: Les Eaux D’Oxala—Afro-Brazilian Ritual: Candomblé, Track Number 8 [CD] (Buda Musique 92576-2, 1973). 34 01 Unstructured citation 98 34 01 Unstructured citation ‘Shipibo Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 12 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 99 34 01 Unstructured citation ‘Selk’ham-Tierra del Fuego-Arrow Ordeal Chant’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 2, Track Number 14 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 100 34 01 Unstructured citation ‘Kumanti’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 20 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 101 34 01 Unstructured citation ‘Warao Male Hoarotu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 102 34 01 Unstructured citation ‘Curing Ritual’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 1, Track Number 19 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 103 34 01 Unstructured citation ‘Warao Male Wisiratu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 104 34 01 Unstructured citation ‘Yanomamö Male Shaman’s Curing Song’ [Recorded by Pitts Collection]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 1 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 105 34 01 Unstructured citation ‘Yekuana Male Shaman’s Curing Song’ [Recorded by Walter Coppens]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 2 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 106 34 01 Unstructured citation ‘Healing Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 11 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 107 34 01 Unstructured citation ‘Shango Cult: Annual Ceremony in a Rural Area’ [Liner notes and recordings by George Eaton Simpson]. On Cult Music of Trinidad, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04478/FE 4478, 1961). 34 01 Unstructured citation 108 34 01 Unstructured citation ‘Shamanistic Ritual: The Dance’ [Liner notes and recordings by Peter Kloos]. On The Maroni River Caribs of Surinam, Track Number 11 [CD] (Pan PANKCD4005, 1997). 34 01 Unstructured citation 109 34 01 Unstructured citation ‘Winti Medley’ [Liner notes and recordings by Clifford Entes]. On Creole Music of Surinam, Track Number 8, 33:25’ [CD] (Smithsonian Folkways Recordings/Folkways Records FW04233/FE 4233, 1978). 34 01 Unstructured citation 110 34 01 Unstructured citation ‘Abelagudahani’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 1 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 111 34 01 Unstructured citation Gropo Laka [Performer], ‘Danca de tambor pulaya / Pulaya Drum Dance’ [Liner notes and production by Sten Sandahl]. On Music from Honduras, Disc 1, Track Number 3 [CD] (Caprice Records CAP 21632, 2000). 34 01 Unstructured citation 112 34 01 Unstructured citation ‘Salve’ [Recorded and produced by Isidro Bobadilla and Morton Marks]. On Afro-Dominican Music from San Cristobal, Dominican Republic, Track Number 3 [CD] (Smithsonian Folkways Recording/Folkways Records FW04285/FE 4285, 1983). 34 01 Unstructured citation 113 34 01 Unstructured citation ‘Kumina “Bailo”’ [Recorded and produced by Edward P.G. Seaga]. On Folk Music of Jamaica, Track Number 4 [CD] (Folkways Records FW04453/FE 4453, 1956). 34 01 Unstructured citation 114 34 01 Unstructured citation Jo Leh [Recorded and produced by Kenneth M. Bilby]. On Drums of Defiance: Maroon Music from the Earliest Free Black Communities of Jamaica, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40412, 1992). 34 01 Unstructured citation 115 34 01 Unstructured citation ‘Vodoun Dance (Three Vodoun Drums)’ [Liner notes and recordings by Harold Courlander]. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 1 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 116 34 01 Unstructured citation ‘Petro Dance (Two Drums)’. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 5 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 117 34 01 Unstructured citation ‘Bear Dance’ [Produced by Gertrude Prokosch Kurath]. On Songs and Dances of the Great Lakes Indians, Disc 1, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04003/FE 4003, 1956). 34 01 Unstructured citation 118 34 01 Unstructured citation ‘Peyote Song: First Song Cycle’ [Produced by Michael Asch]. On Anthology of North American Indian and Eskimo Music, Disc 1, Track Number 13 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04541/FE 4541, 1973). 34 01 Unstructured citation 119 34 01 Unstructured citation ‘Peyote Song’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 31 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 120 34 01 Unstructured citation ‘Crown Dance’ [Produced by Charlotte Heth and Terence Winch]. On Creation’s Journey: Native American Music, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40410, 1994). 34 01 Unstructured citation 121 34 01 Unstructured citation ‘Drum Dance’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 12 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 122 34 01 Unstructured citation Peter Webster [Performer], ‘Medicine Man Song’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 1, Track Number 4 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 34 01 Unstructured citation 123 34 01 Unstructured citation ‘Huichol—Peyote Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 9 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 124 34 01 Unstructured citation ‘Yaqui—Deer Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 8 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 125 34 01 Unstructured citation ‘Wolf Dance’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 2, Track Number 2 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 11 03 06 10.11647/obp.0403.09 193 208 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 9. An Ethnomusicology of Spiritual Realities 1 A01 21 0000000152001943 Jeffers Engelhardt Jeffers Engelhardt Professor of Music 40 028vqfs63 Amherst College 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeffers Engelhardt 12 03 06 10.11647/obp.0403.10 209 232 24 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 1 A01 21 0000000325006348 Bernard Łukasz Sawicki Bernard Łukasz Sawicki Associate Professor in Theology 40 02pn9ep17 Pontificio Ateneo Sant'Anselmo 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). 01 eng 03 00 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.<break/>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. 30 00 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.<break/>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. 20 00 Open Access Bernard Łukasz Sawicki OSB 13 03 06 10.11647/obp.0403.11 233 254 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 11. Spiritual Subjects Musicking, Biography, and the Connections We Make 1 A01 21 0000000208081701 Maeve Louise Heaney Maeve Louise Heaney Associate Professor in the Faculty of Theology and Philosophy, and the Xavier Chair for Theological Formation 40 04cxm4j25 Australian Catholic University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Maeve Louise Heaney VDMF 14 03 06 10.11647/obp.0403.12 255 270 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 12. The Impetus to Compose Where is Fantasy Bred? 1 A01 21 0000000166852589 Richard E. McGregor Richard E. McGregor Professor Emeritus of Music 40 05gd22996 University of Cumbria 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Richard E. McGregor 15 03 06 10.11647/obp.0403.13 273 284 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 13. Music in Christian Services as a Means to Induce Religious Feelings 1 A01 21 0000000236594731 Melanie Wald-Fuhrmann Melanie Wald-Fuhrmann Professor of Systematic Musicology 40 04cvxnb49 Goethe University Frankfurt 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Melanie Wald-Fuhrmann 16 03 06 10.11647/obp.0403.14 285 304 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 14. Spiritual Cultures Innovations in Choral and Classical Music 1 A01 21 0009000474739753 Jonathan Arnold Jonathan Arnold 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jonathan Arnold 17 03 06 10.11647/obp.0403.15 305 326 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 15. Listening to the Lived Experiences of Worshippers A Study of Post-Pandemic Mixed Ecology Worship 1 A01 21 0009000085950985 Elspeth Manders Elspeth Manders Doctoral Student 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Elspeth Manders 18 03 06 10.11647/obp.0403.16 327 354 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 1 A01 21 0009000054666017 Tihomir Lazić Tihomir Lazić Senior Lecturer in Systematic Theology 40 0312t3r96 Newbold College of Higher Education 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Tihomir Lazić 19 03 06 10.11647/obp.0403.17 355 370 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 17. Choral Singers and Spiritual Realities A Perspective from St Mary’s Catholic Cathedral 1 A01 21 000900004430088X Michael Ferguson Michael Ferguson Lecturer and Coordinator of Academic Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael Ferguson 20 03 06 10.11647/obp.0403.18 371 388 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 18. Music and Spirituality in Communal Song Methodists and Welsh Sporting Crowds 1 A01 21 0000000216212679 Martin V. Clarke Martin V. Clarke Senior Lecturer in Music 40 05mzfcs16 The Open University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Martin V. Clarke 21 03 06 10.11647/obp.0403.19 389 398 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Afterword ‘A Psychologist’s Perspective’ 1 A01 21 0000000193754474 John Sloboda John Sloboda Emeritus Professor 40 00340yn33 Keele University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access John Sloboda 01 URL https://www.openbookpublishers.com/ Open Book Publishers 01 Open Book Publishers 01 Publisher's website: home page https://www.openbookpublishers.com/ 02 Publisher's website: webpage for this title https://www.openbookpublishers.com/books/10.11647/OBP.0403 16 40 02wn5qz54 32 10.13039/501100000740 University of St Andrews 01 programname University of St Andrews’ Institutional Open Access Fund 16 40 02q53mk25 32 10.13039/501100013437 Templeton Religion Trust Cambridge, UK 04 01 20240628 George Corbett Sarah Moerman. Copyright of individual chapters are maintained by the chapter author(s). 02 WORLD 06 15 9781805113027 03 9781805113027 06 15 9781805113041 03 9781805113041 06 15 9781805113072 03 9781805113072 06 15 9781805113058 03 9781805113058 34 06 10.1086/421160 34 06 10.1371/journal.pone.0263384 34 01 Unstructured citation Adorno, Theodor W., ‘On the Fetish-Character in Music and the Regression of Listening’, in The Culture Industry: Selected Essays on Mass Culture, ed. by J. M. 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Steinhoff and Jeffrey T. Zalar (Berlin: De Gruyter, forthcoming). 34 06 10.1093/oxfordhb/9780198718406.013.40 34 06 10.4324/9780429492020-8 34 06 10.1093/oxfordhb/9780190616922.013.21 WORLD 09 Open Book Publishers 02 Publisher's website: webpage for this product https://www.openbookpublishers.com/books/10.11647/obp.0403 29 Publisher's website: download the title https://www.openbookpublishers.com/books/10.11647/obp.0403 20 08 20240628 02 93.95 AUD WORLD 02 101.95 CAD WORLD 02 59.95 EUR WORLD 02 49.95 GBP WORLD 02 69.95 USD WORLD urn:uuid:6b95b312-c4d0-4cc4-87a2-ac36f0067fba 03 01 01 thoth-work-id urn:uuid:94c92bfe-5893-4c4d-95b0-9ea2d380b030 01 thoth-publication-id urn:uuid:6b95b312-c4d0-4cc4-87a2-ac36f0067fba 15 9781805113041 03 9781805113041 06 10.11647/OBP.0403 23 1443868876 00 EB E107 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Music and Spirituality Theological Approaches, Empirical Methods, and Christian Worship 1 B01 21 0000000270433253 George Corbett George Corbett Professor of Theology, School of Divinity 40 02wn5qz54 University of St Andrews 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). 2 B01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 00 478 03 09 18 11 2 12 AVA 93 AVLK 10 MUS048000 B2 Music B2 Archaeology and Religion 12 AVGD 93 AVLA 10 MUS048010 93 AVA 12 HRCR 10 REL055000 93 QRVJ1 20 Spiritual; Western culture; Christianity; Musicology; Ethnomusicology; Neuroscience 01 06 02 00 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 – incl 03 00 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. 30 00 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. 04 00 Acknowledgments Notes on Contributors Introduction Foreword: A Composer’s Perspective I. THEOLOGICAL APPROACHES 1. Encountering the Uncontrollable: Music’s Resistance to Reductionism and Its Theological Ramifications 2. Cross and Consolation: Music’s Empathic Spirituality 3. Music, Breath, and Spirit 4. An Adorative Posture towards Music and Spiritual Realities 5. Religion, Science, and Music: An Augustinian Trinity 6. Dissonant Spirituality: A Hermeneutical Aesthetics of Outlaw Country II. EMPIRICAL METHODS 7. From the Sacred to the Ordinary through the Lens of Psychological Science 8. An Inquiry into Musical Trance 9. An Ethnomusicology of Spiritual Realities 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 11. Spiritual Subjects: Musicking, Biography, and the Connections We Make 12. The Impetus to Compose: Where is Fantasy Bred? III. CHRISTIAN WORSHIP 13. Music in Christian Services as a Means to Induce Religious Feelings 14. Spiritual Cultures: Innovations in Choral and Classical Music 15. Listening to the Lived Experiences of Worshippers: A Study of Post-Pandemic Mixed Ecology Worship 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 17. Choral Singers and Spiritual Realities:A Perspective from St Mary’s Catholic Cathedral 18. Music and Spirituality in Communal Song: Methodists and Welsh Sporting Crowds Afterword: A Psychologist’s Perspective List of Figures and Tables Bibliography Index 20 00 Open Access 01 00 03 02 https://books.openbookpublishers.com/10.11647/obp.0403_frontcover.jpg 1 03 06 10.11647/obp.0403.20 1 12 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000270433253 George Corbett George Corbett Professor of Theology 40 02wn5qz54 University of St Andrews 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). 2 A01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access George Corbett and Sarah Moerman 2 03 06 10.11647/obp.0403.00 13 18 6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Foreword A Composer’s Perspective’ 1 A01 James MacMillan James MacMillan Professor 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access James MacMillan 3 03 06 10.11647/obp.0403.01 21 40 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 1. Encountering the Uncontrollable Music’s Resistance to Reductionism and its Theological Ramifications 1 A01 21 000900037406316X Jeremy Begbie Jeremy Begbie Thomas A. Langford Distinguished Research Professor of Theology 40 00py81415 Duke University 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) 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeremy Begbie 4 03 06 10.11647/obp.0403.02 41 54 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 2. Cross and Consolation Music’s Empathic Spirituality 1 A01 21 0009000077135374 Peter C. Bouteneff Peter C. Bouteneff Professor of Systematic Theology and Kulik Professor of Sacred Arts 40 0428qkc73 Saint Vladimir's Orthodox Theological Seminary 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Peter C. Bouteneff 5 03 06 10.11647/obp.0403.03 55 72 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 3. Music, Breath, and Spirit 1 A01 21 0009000984620648 Michael O’Connor Michael O’Connor Associate Professor 40 03dbr7087 University of Toronto 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael O’Connor 6 03 06 10.11647/obp.0403.04 73 86 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 4. An Adorative Posture towards Music and Spiritual Realities 1 A01 21 0000000336492062 Férdia J. Stone-Davis Férdia J. Stone-Davis Director of Research at the Margaret Beaufort Institute 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Férdia J. Stone-Davis 7 03 06 10.11647/obp.0403.05 87 108 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 5. Religion, Science, and Music An Augustinian Trinity 1 A01 21 0000000274018989 Bennett Zon Bennett Zon Professor of Music 40 01v29qb04 Durham University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Bennett Zon 8 03 06 10.11647/obp.0403.06 109 136 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 6. Dissonant Spirituality A Hermeneutical Aesthetics of Outlaw Country 1 A01 21 0009000513590673 C.M. Howell C.M. Howell Doctoral Researcher 40 02wn5qz54 University of St Andrews C.M. Howell is a doctoral researcher at the University of St Andrews, where he is working on the theological aesthetics of Eberhard Jüngel. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Charles Howell 9 03 06 10.11647/obp.0403.07 139 158 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 7. From the Sacred to the Ordinary through the Lens of Psychological Science 1 A01 21 0000000315601418 Yeshaya David M. Greenberg Yeshaya David M. Greenberg Researcher 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access David M. Greenberg 10 03 06 10.11647/obp.0403.08 159 192 34 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 8. An Inquiry into Musical Trance 1 A01 21 0000000157680818 Dilara Turan Dilara Turan Research Assistant in the Department of Music 40 04pm4x478 Istanbul Bilgi University 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Dilara Turan 34 01 Unstructured citation D. Bernez [Performer], ‘Na Go De’ [Liner notes and recordings by Scott Kiehl]. On Akom: Art of Possession, Track Number 19 [CD] (Village Pulse VPU-1009, 2000). 34 01 Unstructured citation 1 34 01 Unstructured citation 2 34 01 Unstructured citation ‘An Evening with the Flute Ensemble’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 15 [CD], Museum Collection Berlin (WERGO—SM 17082, 2003). 34 01 Unstructured citation 3 34 01 Unstructured citation ‘Bartha, the Winner’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 14 [CD], Museum Collection Berlin (WERGO —SM 17082, 2003). 34 01 Unstructured citation 4 34 01 Unstructured citation ‘The Bata Repertoire for Shango in Sakété: Oba Koso’ [Liner notes and recordings by Carol Hardy, compilation by Marcos Branda-Lacerda]. On The World’s Musical Traditions, Vol. 8: Yoruba Drums from Benin, West Africa, Track Number 7 [CD] (Smithsonian Folkways Recordings 40440, 1996). 34 01 Unstructured citation 5 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘Bira Dance at Great Zimbabwe’, YouTube, 20 January 2013 [online video recording], https://www.youtube.com/watch?v=Pbs80p4-nGM 34 01 Unstructured citation 6 34 01 Unstructured citation ‘La Cérémonie Du Bobé’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 2 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 7 34 01 Unstructured citation ‘Le Bobé S’est Rapproché’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 3 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 8 34 01 Unstructured citation ‘Musique de Divination Diye’ [Liner notes and recordings by Simha Arom]. On Anthologie de la musique des Pygmées Aka = Musical anthology of the Aka Pygmies, Disc 2, Track Number 9 [CD] (Ocora C 560171/72, 2002). 34 01 Unstructured citation 9 34 01 Unstructured citation Foundation for Hausa Performing Arts, ‘Dodorido Koroso Dance Drama Segment 2 Bori Adept’, 8 January 2012 [online video recording], https://www.youtube.com/watch?v=hpjrw_VRW1Y 34 01 Unstructured citation 10 34 01 Unstructured citation ‘Music for the Buma Dance’ [Liner notes and recordings by Simha Arom & Patrick Renaud]. On Cameroon: Baka Pygmy Music, Disc 1, Track Number 1, 10 [CD] (Smithsonian Folkways Recordings/UNESCO, 1977). 34 01 Unstructured citation 11 34 01 Unstructured citation ‘Le Jeune Eland (Nang Tzema Tzi)’ [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 18 [CD] (Ocora C 560117, 1997). 34 01 Unstructured citation 12 34 01 Unstructured citation ‘Oryx (Go’e Tzi)’ (1997) [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 19 [CD] (Ocora 560117, 1997). 34 01 Unstructured citation 13 34 01 Unstructured citation Mtendeni Maulid Ensemble, ‘Dahala 3: Marihaba / Hua Maulana / Salat / Jalla Jalaluh / Khamsa Arkan / Man A’ala / Leo Mambo’ [Liner notes by Aïsha Schmitt]. On Zanzibara, Vol. 6—A Sufi Performance from Zanzibar, Track Number 3 [CD] (Buda Musique 860219, 2012). 34 01 Unstructured citation 14 34 01 Unstructured citation ‘Hadra Song: “Al hamdou lillahAlgeria”’ [Liner notes and recordings by Pierre Augier]. On Algeria: Sahara - Music of Gourara Disc 1, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO, 1975). 34 01 Unstructured citation 15 34 01 Unstructured citation ‘Jinele: chant de divination’ [Liner notes by Jean L. Jenkins, Ralph Harrisson and Ragnar Johnson]. On Ethiopie: musiques vocales et instrumentales, Disc 2, Track Number 10 [CD] (Ocora C 580055/56, 1994). 34 01 Unstructured citation 16 34 01 Unstructured citation ‘Būderbāla / Būḥāla’. On The Music Of Islām—Volume Six: Al-Maghrib, Gnāwa Music, Marrakesh, Morocco, Track Number 4 [CD] (Celestial Harmonies 13146-2, 1997). 34 01 Unstructured citation 17 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘The Mbira Ceremony’, YouTube, 18 May 2012 [online video recording], https://www.youtube.com/watch?v=OXBQbn6wZeQ 34 01 Unstructured citation 18 34 01 Unstructured citation ‘Molimo Song of Devotion to the Forest’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 26 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 19 34 01 Unstructured citation ‘Molimo Song: Darkness Is Good’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 25 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 20 34 01 Unstructured citation Gnawalux Brussels [Screen name], ‘Stambali 1—Gnawa Tunisie’, YouTube, 27 August 2008 [online video recording], https://www.youtube.com/watch?v=wK-UasuUtdo 34 01 Unstructured citation 21 34 01 Unstructured citation ‘Tazenkharet’ [Liner notes and recordings by Finola Holiday & Geoffrey Holiday]. On Tuareg Music of the Southern Sahar, Disc 1, Track Number 13 [CD] (Ethnic Folkways Library FE 4470, 1960). 34 01 Unstructured citation 22 34 01 Unstructured citation ‘Timgui’ [Liner notes and recordings by Charles Duvelle]. On Bariba—Bénin, Track Number 5 [CD] (Philips Music Group France 538721-2, 1999). 34 01 Unstructured citation 23 34 01 Unstructured citation Mwizenge Tembo [Screen name], ‘Vimbuza Dance Ritual Ceremony’, YouTube, 20 July 2008 [online video recording], https://www.youtube.com/watch?v=6wpsNQp1ci4 34 01 Unstructured citation 24 34 01 Unstructured citation ‘Alto Bung’o Horn (Kenya)’ [Compiled by Stephen Innocenzi]. On Africa, Music from the Nonesuch Explorer Series, Track Number 1 [CD] (Nonesuch Records 7559-79793-2, 2002). 34 01 Unstructured citation 25 34 01 Unstructured citation Ivo Biegman. [Screen name], ‘Zar ritual in Egypt’, YouTube, 19 May 2011 [online video recording], https://www.youtube.com/watch?v=YNiUc4W5Kzo&list=RDYNiUc4W5Kzo#t=517 34 01 Unstructured citation 26 34 01 Unstructured citation ‘Zar Omdurman’ [Liner notes and compilation by Peter Verney]. On Rough Guide to Sudan, Track Number 7 [CD]. (World Music Network—RGNET 1152, 2005). 34 01 Unstructured citation 27 34 01 Unstructured citation ‘Danse, Bozok Semahi’ [Liner notes by Jean During and Jerome Cler]. On Turquie: Ceremonie du Djem Alevi (Turkey: Djem Alevi Ceremony), Track Number 12 [CD] (Ocora C 560125, 1998). 34 01 Unstructured citation 28 34 01 Unstructured citation kabultransit [Screen name]. ‘Kabul Transit—Zikr’, YouTube, 7 November 2007 [online video recording], https://www.youtube.com/watch?v=_BvSLgJSBBY 34 01 Unstructured citation 29 34 01 Unstructured citation ‘Zikr’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 2 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 30 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Dhikr Ceremony in Iraq’, YouTube, 1 January 2009 [online video recording], https://www.youtube.com/watch?v=yyrK-oAo3DM&list=PL5B186F663D6F3052&index=2 34 01 Unstructured citation 31 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Qadiri Dhikr—God is Eternal’, YouTube, 8 December 2008 [online video recording], https://www.youtube.com/watch?v=lV52djNFcKk&index=1&list=PL5B186F663D6F3052 34 01 Unstructured citation 32 34 01 Unstructured citation ‘Zikr/ Du’a / Tekbir’ [Liner notes and recordings by Bernard Mauguin]. On Islamic Ritual from Kosovo, Track Number 2 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08055, 1974). 34 01 Unstructured citation 33 34 01 Unstructured citation ‘Islamic Ritual Zikr’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Syria: Islamic Ritual Zikr in Aleppo, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08013, 1975). 34 01 Unstructured citation 34 34 01 Unstructured citation ‘Zikr’ [Liner notes by David Stevens]. On Turquie: Musique Soufi, Track Number 1 [CD] (Ocora C559017, 1987). 34 01 Unstructured citation 35 34 01 Unstructured citation ‘Zikr-e Allah et percussions’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 1 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 36 34 01 Unstructured citation H. Shakkûr & Ensemble Al-Kindî [Performer], ‘Meditation’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 1, Track Number 2 [CD]. (Network Medien—26.982, 1997). 34 01 Unstructured citation 37 34 01 Unstructured citation Muhammad Al Ashiq [Performer], ‘Qasida: Saluha Limadha’ [Liner notes by Andre Jouve and Christian Poche]. On Archives De La Musique Arabe Vol. 1, Track Number 2 [CD] (Ocora C 558678, 1987). 34 01 Unstructured citation 38 34 01 Unstructured citation Mobarak & Molabakhsh Nuri [Performer], ‘Qalandari Tune’. On Troubadours of Allah: Sufi Music from the Indus Valley, Disc 1, Track Number 2 [CD] (Wergo SM 16172, 1999). 34 01 Unstructured citation 39 34 01 Unstructured citation Yâr Mohammad [Performer], ‘Qalandari Tune (Khorasani)’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 2, Track Number 10 [CD] (Network Medien—26.982, 1997). 34 01 Unstructured citation 40 34 01 Unstructured citation ‘Tamburah (Voice of the Lyre)’ [Liner notes and recordings by Dieter Christensen]. On Oman: Traditional Arts of the Sultanate of Oman, Track Number 7 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08211, 1993). 34 01 Unstructured citation 41 34 01 Unstructured citation O. Y. Traibi [Performer], ‘Zar’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Yemen: Traditional Music of the North, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08004, 1978). 34 01 Unstructured citation 42 34 01 Unstructured citation Ozman Khaled [Screen name], ‘ZAAR Ceremony at Qeshm’, YouTube, 18 April 2016 [online video recording], https://www.youtube.com/watch?v=gifUSI1RFCQ 34 01 Unstructured citation 43 34 01 Unstructured citation ‘Zikr’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 19 [CD]. (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 44 34 01 Unstructured citation Aznash Ensemble [Performer]. Konya Mystic Music Festival [Screen name], ‘Aznash Ensemble’, YouTube, 5 August 2013 [online video recording], https://www.youtube.com/watch?v=TiPqB4GNzT0&list=RDtx6dwa4u8Lg&index=11 34 01 Unstructured citation 45 34 01 Unstructured citation Swiatoslaw Wojtkowiak [Screen name], ‘Chechen Female Zikr: Opening’, YouTube, 16 December 2010 [online video recording], https://www.youtube.com/watch?v=tx6dwa4u8Lg 34 01 Unstructured citation 46 34 01 Unstructured citation S. Aqmoldaev [Performer], ‘Kertolghau’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 16 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 47 34 01 Unstructured citation T. S. Qalebov and S. Tawarov [Performer], ‘Madh’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 18 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 48 34 01 Unstructured citation Supergnak [Screen name], ‘Le tour du monde en musique: Kazakhstan—Le kobyz du chaman’, YouTube, 14 January 2010 [online video recording], https://www.youtube.com/watch?v=5M6DA5w6aCc 34 01 Unstructured citation 49 34 01 Unstructured citation ‘Shod-i Uforash and Ufor-i Tezash: Dilbaram Shumo’ [Liner notes and recordings by Ted Levin]. On Bukhara: Musical Crossroads of Asia, Track Number 1 [CD] (Smithsonian Folkways Recordings SFW40050, 1991). 34 01 Unstructured citation 50 34 01 Unstructured citation ‘Cérémonie De Propitiation De Nag-Zhig’ [Liner notes and recording by Ricardo Canzio]. On Tibet: Traditions Rituelles Des Bonpos, Track Number 2 [CD] (Ocora C 580016, 1993). 34 01 Unstructured citation 51 34 01 Unstructured citation ‘Shamanic Bear Session’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 1—Shamanic & Narrative Songs of Siberian Arctic, Track Number 12 [CD] (Buda Musique—925642, 1995). 34 01 Unstructured citation 52 34 01 Unstructured citation O. A. Njavan [Performer], ‘Song, Kkas Drum and Jampa Jingle Belt, Imitation of Kamlanie’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 6: Sakhalin—Vocal & Instrumental Music, Nivkh Ujl’ta, Track Number 8 [CD] (Buda Musique—927212, 1998). 34 01 Unstructured citation 53 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 8 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 54 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 27 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 55 34 01 Unstructured citation ‘Pei-tou Liturgy (Great Bear Liturgy)’ [Produced by John Levy]. On Chinese Buddhist Music, Track Number 6 [CD] (Lyrichord—LLST 7222, 2004). 34 01 Unstructured citation 56 34 01 Unstructured citation ‘Dai Hannya Tendoku E’ [Liner notes by Toshiro Kido and Pierre Landy]. On Japan: Shomyo Buddhist Ritual—Dai Hannya Ceremony, Track Number 1, 17:00–31:42 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08036, 1975). 34 01 Unstructured citation 57 34 01 Unstructured citation ‘Sinawi’ [Liner notes and recording by Kwon Oh Sung]. On Korea: Folkloric Instrumental Traditions, Vol. 1: Sinawi and Sanjo, Track Number 1 [CD] (JVC Ethnic Sound Series #25, JVC VID- 25020, 1988). 34 01 Unstructured citation 58 34 01 Unstructured citation O-Suwa-Daiko [Performer]. ‘Ama-No-Naru Tatsu-O Dai-Kagura’ [Liner notes by Iyori Takei]. On Japan: O-Suwa-Daiko Drums, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08030, 1978). 34 01 Unstructured citation 59 34 01 Unstructured citation ‘Rimse’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 4 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 60 34 01 Unstructured citation M. K. Seo [Author and Recorder], ‘Tangak’. In the CD of the book Hanyang Kut: Korean Shaman Ritual Music from Seoul (Current Research in Ethnomusicology: Outstanding Dissertations), Track, Number 20, pp. 165, 171, and 194 (New York & London: Routledge, 2002). 34 01 Unstructured citation 61 34 01 Unstructured citation B. Salchak [Performer], ‘Kham [Shaman Ritual]’ [Liner notes and recording by Dina Oiun]. On Voices from the Distant Steppe, Track Number 16 [CD] (Real World Records—CDRW41, 1994). 34 01 Unstructured citation 62 34 01 Unstructured citation K. Yokoyama [Performer], ‘Ko-ku (Vacuity)’ [Liner notes by Akira Tamba]. On Japon, Kinshi Turata—Katsuya Yokoyama, Track Number 2 [CD] (Ocora C 558518 1994). 34 01 Unstructured citation 63 34 01 Unstructured citation V. G. Anastasija [Performer], ‘Vocals and Jajar Frame Drum: A Song for the Khololo Celebration’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 4 Kamtchatka: Dance Drums from Siberian Far East, Track Number 15 [CD] (Buda Musique—925982, 1994). 34 01 Unstructured citation 64 34 01 Unstructured citation ‘Tus’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 10 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 65 34 01 Unstructured citation ‘Upopo’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 66 34 01 Unstructured citation ‘Smaon’ [Liner notes by John Schaefer and recording by David Parsons]. On The Music of Cambodia (Royal Court Music), Track Number 19 [CD] (Celestial Harmonies 13075-2, 1993). 34 01 Unstructured citation 67 34 01 Unstructured citation ‘Beliatn Sentiyu Suite’ (excerpt) [Liner notes and recording by Philip Yampolsky]. On Music of Indonesia, Vol. 17: Kalimantan: Dayak Ritual and Festival Music, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40444, 1998). 34 01 Unstructured citation 68 34 01 Unstructured citation P. Pargi Mina [Performer] (1984), ‘Devi Ambav ro dhak’ [Recording by David Roche]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 13 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 69 34 01 Unstructured citation ‘Buddhist Ritual Music and Chant in Honor of A-phyi’ (1976). [Recording by Mireille Helffer]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 24 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 70 34 01 Unstructured citation ‘Ritual Chanting (Ngāyung) of Mediums (to Rid the Settlement of Malign Forest Spirits) [Produced by Harold C. Conklin]. On Hanunóo Music from the Philippines, Side 1, Band 11 [LP] (Ethnic Folkways Library ‎FE 4466, 1956). 34 01 Unstructured citation 71 34 01 Unstructured citation ‘Châu Văn’ [Liner notes by Trần Văn Khê]. On Viêtnam Musique de Huê: Chants de Huê et Musique de Cour, Track Number 18 [CD] (Inedit—W 260073, 2005). 34 01 Unstructured citation 72 34 01 Unstructured citation ‘Dabuih’ [Produced by Margaret J. Kartomi]. On The Music of Islam, Vol. 15: Muslim Music Of Indonesia, Aceh And West Sumatra, Disc 1, Track Number 16 [CD] (Celestial Harmonies 14232, 1998). 34 01 Unstructured citation 73 34 01 Unstructured citation ‘Dzikir Samman: Allahu Allah’ [Produced by Philip Yampolsky]. On Music of Indonesia, Vol. 19: Music of Maluku: Halmahera, Buru, Kei, Track Number 17 [CD] (Smithsonian Folkways Recordings SFW40446, 1999). 34 01 Unstructured citation 74 34 01 Unstructured citation ‘Gamelan Salunding, Tenganan—Gending Sekar Gadung’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 5 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 75 34 01 Unstructured citation ‘Musique des anciennes cérémonies religieuses avec une guru sibaso: Begu deleng/ Odak-odak/ Pertang-tang sabe/ Peseluken’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 2 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 76 34 01 Unstructured citation ‘Gondang “Pangelek-elek Ni Jujungan Ro”’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 5 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 77 34 01 Unstructured citation ‘Kecak From Blakiuh Near Mengwi’ [Liner notes by Wolfgang Hamm and Rika Reissler]. On Bali: A Suite of Tropical Music and Sound, Track Number 9 [CD] (World Network 35, 1995). 34 01 Unstructured citation 78 34 01 Unstructured citation ‘Sekaha Ganda Sari, Bona—Kecak’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 8 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 79 34 01 Unstructured citation ‘Kuda Kepang’. On The Ethnic Sampler 4, Track Number 25 [CD] (APM Music, Sonoton—SAS 107, 1995). 34 01 Unstructured citation 80 34 01 Unstructured citation ‘Phléng khlom’ [Liner notes and recording by Jacques Brunet]. On Cambodia: Folk and Ceremonial Music, Track Number 12 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08068, 1996). 34 01 Unstructured citation 81 34 01 Unstructured citation ‘Pheng Phi Fa’ [Liner notes and recording by Jacques Brunet]. On Laos—Traditional Music Of The South, Track Number 1 [CD] (UNESCO—D 8042, 1992). 34 01 Unstructured citation 82 34 01 Unstructured citation ‘Nanduni Pattu—Song to Bhadrakali’ [Liner notes and recordings by Rolf Killius]. On Ritual Music of Kerala, Track Number 5 [CD] (Archives and Research Centre for Ethnomusicology—ARCE00028, 2008). 34 01 Unstructured citation 83 34 01 Unstructured citation ‘Burmese “Pwe”’ [Liner notes and recording by the collection of La Meri]. On Exotic Dances, Track Number 4 [LP] (Folkways Records FP 52, 1950). 34 01 Unstructured citation 84 34 01 Unstructured citation ‘A Healing Ceremony at Kg’ [Liner notes and compilation by Marina Roseman]. On Dream Songs and Healing Sounds in the Rainforests of Malaysia, Track Number 10 [CD] (Smithsonian Folkways Recordings SFW40417, 1995). 34 01 Unstructured citation 85 34 01 Unstructured citation ‘Piphat Mon: Spirit Dance’ [Liner notes by Andrew Shahriari]. On Silk, Spirits and Song—Music from North Thailand, Track Number 12 [CD] (Lyrichord—LYRCD 7451, 2006). 34 01 Unstructured citation 86 34 01 Unstructured citation ‘Perdjuritan (Soldiers Dance)’ [Edited by Henry Cowell]. On Music of Indonesia, Track Number 7 [CD] (Folkways Records FE 4537, 1961). 34 01 Unstructured citation 87 34 01 Unstructured citation ‘Invocation to the Goddess Yeshiki Mamo (Tantric Puja) Part II’ [Recording by Manfred Junius and P. C. Misra]. On The Lamas of The Nyingmapa Monastery of Dehra Dun—Tibetan Ritual, Track Number 2 [CD]. (UNESCO Collection of Traditional Music of the World Series, Auvidis ‎– D 8034, 1991). 34 01 Unstructured citation 88 34 01 Unstructured citation ‘Salai Jin, Pt. 2’ [Produced by Margaret J. Kartomi]. On Music of Indonesia: Maluku & North Maluku, Disc 1, Track Number 5 [CD] (Celestial Harmonies 14232, 2003). 34 01 Unstructured citation 89 34 01 Unstructured citation ‘Bandina Devi ninna charana’ [Liner notes and recordings by Luisse Gunnel]. On Inde: Rythmes et Chants du Nord—Karnataka, Rythmes—Comptines, Chants dévotionnels, Track Number 43 [CD] (Buda Musique—1978542, 2001). 34 01 Unstructured citation 90 34 01 Unstructured citation ‘Tovil (Drum Dance)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 1 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 91 34 01 Unstructured citation ‘Kohomba Kankariya (Dance Ritual)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 2 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 92 34 01 Unstructured citation ‘Baha Festival Dance’ [Liner notes and recordings by Deben Bhattacharya (1973)]. On Music of the Santal Tribe, Track Number 11 [CD] (ARC Music Productions EUCD2510, 2014). 34 01 Unstructured citation 93 34 01 Unstructured citation ‘Uunu’ [Liner notes and recording by Hugo Zemp]. On Solomon Islands: Fataleka and Baegu Music from Malaita, Track Number 1 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08027, 1973). 34 01 Unstructured citation 94 34 01 Unstructured citation ‘Kabu Kei Conua Group [Performer], ‘Yavulo, Yavulo, Vuni Maqo E Buto’ [Liner notes by Ad Linkels]. On Viti Levu: The Multicultural Heart of Fiji, Track Number 14 [CD] (Pan 2096, 2000). 34 01 Unstructured citation 95 34 01 Unstructured citation ‘Seance Gisalo Song by Aiba with Weeping’ [Liner notes and recording by Steven Feld]. On Bosavi: Rainforest Music from Papua New Guinea, Disc Number 3, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40487, 2001). 34 01 Unstructured citation 96 34 01 Unstructured citation ‘Songs of the Spirits (Newet)—Lo, Torres’ [Liner notes by Alexandre François and Monika Stern]. On Music of Vanuatu: Celebrations and Mysteries, Track Number 39 [CD] (Inedit—W 260147, 2013). 34 01 Unstructured citation 97 34 01 Unstructured citation ‘Alujà de Xangô Aira’ (2005). On Brésil: Les Eaux D’Oxala—Afro-Brazilian Ritual: Candomblé, Track Number 8 [CD] (Buda Musique 92576-2, 1973). 34 01 Unstructured citation 98 34 01 Unstructured citation ‘Shipibo Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 12 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 99 34 01 Unstructured citation ‘Selk’ham-Tierra del Fuego-Arrow Ordeal Chant’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 2, Track Number 14 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 100 34 01 Unstructured citation ‘Kumanti’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 20 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 101 34 01 Unstructured citation ‘Warao Male Hoarotu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 102 34 01 Unstructured citation ‘Curing Ritual’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 1, Track Number 19 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 103 34 01 Unstructured citation ‘Warao Male Wisiratu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 104 34 01 Unstructured citation ‘Yanomamö Male Shaman’s Curing Song’ [Recorded by Pitts Collection]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 1 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 105 34 01 Unstructured citation ‘Yekuana Male Shaman’s Curing Song’ [Recorded by Walter Coppens]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 2 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 106 34 01 Unstructured citation ‘Healing Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 11 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 107 34 01 Unstructured citation ‘Shango Cult: Annual Ceremony in a Rural Area’ [Liner notes and recordings by George Eaton Simpson]. On Cult Music of Trinidad, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04478/FE 4478, 1961). 34 01 Unstructured citation 108 34 01 Unstructured citation ‘Shamanistic Ritual: The Dance’ [Liner notes and recordings by Peter Kloos]. On The Maroni River Caribs of Surinam, Track Number 11 [CD] (Pan PANKCD4005, 1997). 34 01 Unstructured citation 109 34 01 Unstructured citation ‘Winti Medley’ [Liner notes and recordings by Clifford Entes]. On Creole Music of Surinam, Track Number 8, 33:25’ [CD] (Smithsonian Folkways Recordings/Folkways Records FW04233/FE 4233, 1978). 34 01 Unstructured citation 110 34 01 Unstructured citation ‘Abelagudahani’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 1 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 111 34 01 Unstructured citation Gropo Laka [Performer], ‘Danca de tambor pulaya / Pulaya Drum Dance’ [Liner notes and production by Sten Sandahl]. On Music from Honduras, Disc 1, Track Number 3 [CD] (Caprice Records CAP 21632, 2000). 34 01 Unstructured citation 112 34 01 Unstructured citation ‘Salve’ [Recorded and produced by Isidro Bobadilla and Morton Marks]. On Afro-Dominican Music from San Cristobal, Dominican Republic, Track Number 3 [CD] (Smithsonian Folkways Recording/Folkways Records FW04285/FE 4285, 1983). 34 01 Unstructured citation 113 34 01 Unstructured citation ‘Kumina “Bailo”’ [Recorded and produced by Edward P.G. Seaga]. On Folk Music of Jamaica, Track Number 4 [CD] (Folkways Records FW04453/FE 4453, 1956). 34 01 Unstructured citation 114 34 01 Unstructured citation Jo Leh [Recorded and produced by Kenneth M. Bilby]. On Drums of Defiance: Maroon Music from the Earliest Free Black Communities of Jamaica, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40412, 1992). 34 01 Unstructured citation 115 34 01 Unstructured citation ‘Vodoun Dance (Three Vodoun Drums)’ [Liner notes and recordings by Harold Courlander]. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 1 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 116 34 01 Unstructured citation ‘Petro Dance (Two Drums)’. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 5 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 117 34 01 Unstructured citation ‘Bear Dance’ [Produced by Gertrude Prokosch Kurath]. On Songs and Dances of the Great Lakes Indians, Disc 1, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04003/FE 4003, 1956). 34 01 Unstructured citation 118 34 01 Unstructured citation ‘Peyote Song: First Song Cycle’ [Produced by Michael Asch]. On Anthology of North American Indian and Eskimo Music, Disc 1, Track Number 13 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04541/FE 4541, 1973). 34 01 Unstructured citation 119 34 01 Unstructured citation ‘Peyote Song’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 31 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 120 34 01 Unstructured citation ‘Crown Dance’ [Produced by Charlotte Heth and Terence Winch]. On Creation’s Journey: Native American Music, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40410, 1994). 34 01 Unstructured citation 121 34 01 Unstructured citation ‘Drum Dance’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 12 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 122 34 01 Unstructured citation Peter Webster [Performer], ‘Medicine Man Song’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 1, Track Number 4 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 34 01 Unstructured citation 123 34 01 Unstructured citation ‘Huichol—Peyote Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 9 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 124 34 01 Unstructured citation ‘Yaqui—Deer Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 8 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 125 34 01 Unstructured citation ‘Wolf Dance’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 2, Track Number 2 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 11 03 06 10.11647/obp.0403.09 193 208 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 9. An Ethnomusicology of Spiritual Realities 1 A01 21 0000000152001943 Jeffers Engelhardt Jeffers Engelhardt Professor of Music 40 028vqfs63 Amherst College 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeffers Engelhardt 12 03 06 10.11647/obp.0403.10 209 232 24 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 1 A01 21 0000000325006348 Bernard Łukasz Sawicki Bernard Łukasz Sawicki Associate Professor in Theology 40 02pn9ep17 Pontificio Ateneo Sant'Anselmo 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). 01 eng 03 00 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.<break/>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. 30 00 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.<break/>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. 20 00 Open Access Bernard Łukasz Sawicki OSB 13 03 06 10.11647/obp.0403.11 233 254 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 11. Spiritual Subjects Musicking, Biography, and the Connections We Make 1 A01 21 0000000208081701 Maeve Louise Heaney Maeve Louise Heaney Associate Professor in the Faculty of Theology and Philosophy, and the Xavier Chair for Theological Formation 40 04cxm4j25 Australian Catholic University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Maeve Louise Heaney VDMF 14 03 06 10.11647/obp.0403.12 255 270 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 12. The Impetus to Compose Where is Fantasy Bred? 1 A01 21 0000000166852589 Richard E. McGregor Richard E. McGregor Professor Emeritus of Music 40 05gd22996 University of Cumbria 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Richard E. McGregor 15 03 06 10.11647/obp.0403.13 273 284 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 13. Music in Christian Services as a Means to Induce Religious Feelings 1 A01 21 0000000236594731 Melanie Wald-Fuhrmann Melanie Wald-Fuhrmann Professor of Systematic Musicology 40 04cvxnb49 Goethe University Frankfurt 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Melanie Wald-Fuhrmann 16 03 06 10.11647/obp.0403.14 285 304 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 14. Spiritual Cultures Innovations in Choral and Classical Music 1 A01 21 0009000474739753 Jonathan Arnold Jonathan Arnold 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jonathan Arnold 17 03 06 10.11647/obp.0403.15 305 326 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 15. Listening to the Lived Experiences of Worshippers A Study of Post-Pandemic Mixed Ecology Worship 1 A01 21 0009000085950985 Elspeth Manders Elspeth Manders Doctoral Student 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Elspeth Manders 18 03 06 10.11647/obp.0403.16 327 354 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 1 A01 21 0009000054666017 Tihomir Lazić Tihomir Lazić Senior Lecturer in Systematic Theology 40 0312t3r96 Newbold College of Higher Education 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Tihomir Lazić 19 03 06 10.11647/obp.0403.17 355 370 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 17. Choral Singers and Spiritual Realities A Perspective from St Mary’s Catholic Cathedral 1 A01 21 000900004430088X Michael Ferguson Michael Ferguson Lecturer and Coordinator of Academic Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael Ferguson 20 03 06 10.11647/obp.0403.18 371 388 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 18. Music and Spirituality in Communal Song Methodists and Welsh Sporting Crowds 1 A01 21 0000000216212679 Martin V. Clarke Martin V. Clarke Senior Lecturer in Music 40 05mzfcs16 The Open University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Martin V. Clarke 21 03 06 10.11647/obp.0403.19 389 398 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Afterword ‘A Psychologist’s Perspective’ 1 A01 21 0000000193754474 John Sloboda John Sloboda Emeritus Professor 40 00340yn33 Keele University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access John Sloboda 01 URL https://www.openbookpublishers.com/ Open Book Publishers 01 Open Book Publishers 01 Publisher's website: home page https://www.openbookpublishers.com/ 02 Publisher's website: webpage for this title https://www.openbookpublishers.com/books/10.11647/OBP.0403 16 40 02wn5qz54 32 10.13039/501100000740 University of St Andrews 01 programname University of St Andrews’ Institutional Open Access Fund 16 40 02q53mk25 32 10.13039/501100013437 Templeton Religion Trust Cambridge, UK 04 01 20240628 George Corbett Sarah Moerman. Copyright of individual chapters are maintained by the chapter author(s). 02 WORLD 06 15 9781805113027 03 9781805113027 06 15 9781805113034 03 9781805113034 06 15 9781805113072 03 9781805113072 06 15 9781805113058 03 9781805113058 34 06 10.1086/421160 34 06 10.1371/journal.pone.0263384 34 01 Unstructured citation Adorno, Theodor W., ‘On the Fetish-Character in Music and the Regression of Listening’, in The Culture Industry: Selected Essays on Mass Culture, ed. by J. M. 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Zalar (Berlin: De Gruyter, forthcoming). 34 06 10.1093/oxfordhb/9780198718406.013.40 34 06 10.4324/9780429492020-8 34 06 10.1093/oxfordhb/9780190616922.013.21 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/91252 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/91252/obp.0403.pdf?sequence=1&isAllowed=y 20 08 20240628 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/139988 20 08 20240628 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://hdl.handle.net/2134/26201522 29 Unspecified hosting platform: download the title https://repository.lboro.ac.uk/ndownloader/files/47487335 20 08 20240628 01 11 Unknown 36 Unspecified hosting platform: webpage for this product https://thoth-arch.lib.cam.ac.uk/handle/1811/722 29 Unspecified hosting platform: download the title https://thoth-arch.lib.cam.ac.uk/bitstreams/d53fb1b8-92f9-4749-ab8a-8e97f13271e4/download 20 08 20240628 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/94c92bfe-5893-4c4d-95b0-9ea2d380b030 29 INTERNET_ARCHIVE: download the title https://archive.org/download/94c92bfe-5893-4c4d-95b0-9ea2d380b030/94c92bfe-5893-4c4d-95b0-9ea2d380b030.pdf 20 08 20240628 01 09 Open Book Publishers 02 Publisher's website: webpage for this product https://www.openbookpublishers.com/books/10.11647/obp.0403 29 Publisher's website: download the title https://books.openbookpublishers.com/10.11647/obp.0403.pdf 20 08 20240628 01 urn:uuid:a9d20db4-1d3d-4f47-91f6-eddd1bd1fc59 03 01 01 thoth-work-id urn:uuid:94c92bfe-5893-4c4d-95b0-9ea2d380b030 01 thoth-publication-id urn:uuid:a9d20db4-1d3d-4f47-91f6-eddd1bd1fc59 15 9781805113072 03 9781805113072 06 10.11647/OBP.0403 23 1443868876 00 EB E105 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Music and Spirituality Theological Approaches, Empirical Methods, and Christian Worship 1 B01 21 0000000270433253 George Corbett George Corbett Professor of Theology, School of Divinity 40 02wn5qz54 University of St Andrews 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). 2 B01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 00 478 03 09 18 11 2 12 AVA 93 AVLK 10 MUS048000 B2 Music B2 Archaeology and Religion 12 AVGD 93 AVLA 10 MUS048010 93 AVA 12 HRCR 10 REL055000 93 QRVJ1 20 Spiritual; Western culture; Christianity; Musicology; Ethnomusicology; Neuroscience 01 06 02 00 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 – incl 03 00 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. 30 00 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. 04 00 Acknowledgments Notes on Contributors Introduction Foreword: A Composer’s Perspective I. THEOLOGICAL APPROACHES 1. Encountering the Uncontrollable: Music’s Resistance to Reductionism and Its Theological Ramifications 2. Cross and Consolation: Music’s Empathic Spirituality 3. Music, Breath, and Spirit 4. An Adorative Posture towards Music and Spiritual Realities 5. Religion, Science, and Music: An Augustinian Trinity 6. Dissonant Spirituality: A Hermeneutical Aesthetics of Outlaw Country II. EMPIRICAL METHODS 7. From the Sacred to the Ordinary through the Lens of Psychological Science 8. An Inquiry into Musical Trance 9. An Ethnomusicology of Spiritual Realities 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 11. Spiritual Subjects: Musicking, Biography, and the Connections We Make 12. The Impetus to Compose: Where is Fantasy Bred? III. CHRISTIAN WORSHIP 13. Music in Christian Services as a Means to Induce Religious Feelings 14. Spiritual Cultures: Innovations in Choral and Classical Music 15. Listening to the Lived Experiences of Worshippers: A Study of Post-Pandemic Mixed Ecology Worship 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 17. Choral Singers and Spiritual Realities:A Perspective from St Mary’s Catholic Cathedral 18. Music and Spirituality in Communal Song: Methodists and Welsh Sporting Crowds Afterword: A Psychologist’s Perspective List of Figures and Tables Bibliography Index 20 00 Open Access 01 00 03 02 https://books.openbookpublishers.com/10.11647/obp.0403_frontcover.jpg 1 03 06 10.11647/obp.0403.20 1 12 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000270433253 George Corbett George Corbett Professor of Theology 40 02wn5qz54 University of St Andrews 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). 2 A01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access George Corbett and Sarah Moerman 2 03 06 10.11647/obp.0403.00 13 18 6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Foreword A Composer’s Perspective’ 1 A01 James MacMillan James MacMillan Professor 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access James MacMillan 3 03 06 10.11647/obp.0403.01 21 40 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 1. Encountering the Uncontrollable Music’s Resistance to Reductionism and its Theological Ramifications 1 A01 21 000900037406316X Jeremy Begbie Jeremy Begbie Thomas A. Langford Distinguished Research Professor of Theology 40 00py81415 Duke University 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) 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeremy Begbie 4 03 06 10.11647/obp.0403.02 41 54 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 2. Cross and Consolation Music’s Empathic Spirituality 1 A01 21 0009000077135374 Peter C. Bouteneff Peter C. Bouteneff Professor of Systematic Theology and Kulik Professor of Sacred Arts 40 0428qkc73 Saint Vladimir's Orthodox Theological Seminary 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Peter C. Bouteneff 5 03 06 10.11647/obp.0403.03 55 72 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 3. Music, Breath, and Spirit 1 A01 21 0009000984620648 Michael O’Connor Michael O’Connor Associate Professor 40 03dbr7087 University of Toronto 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael O’Connor 6 03 06 10.11647/obp.0403.04 73 86 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 4. An Adorative Posture towards Music and Spiritual Realities 1 A01 21 0000000336492062 Férdia J. Stone-Davis Férdia J. Stone-Davis Director of Research at the Margaret Beaufort Institute 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Férdia J. Stone-Davis 7 03 06 10.11647/obp.0403.05 87 108 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 5. Religion, Science, and Music An Augustinian Trinity 1 A01 21 0000000274018989 Bennett Zon Bennett Zon Professor of Music 40 01v29qb04 Durham University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Bennett Zon 8 03 06 10.11647/obp.0403.06 109 136 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 6. Dissonant Spirituality A Hermeneutical Aesthetics of Outlaw Country 1 A01 21 0009000513590673 C.M. Howell C.M. Howell Doctoral Researcher 40 02wn5qz54 University of St Andrews C.M. Howell is a doctoral researcher at the University of St Andrews, where he is working on the theological aesthetics of Eberhard Jüngel. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Charles Howell 9 03 06 10.11647/obp.0403.07 139 158 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 7. From the Sacred to the Ordinary through the Lens of Psychological Science 1 A01 21 0000000315601418 Yeshaya David M. Greenberg Yeshaya David M. Greenberg Researcher 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access David M. Greenberg 10 03 06 10.11647/obp.0403.08 159 192 34 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 8. An Inquiry into Musical Trance 1 A01 21 0000000157680818 Dilara Turan Dilara Turan Research Assistant in the Department of Music 40 04pm4x478 Istanbul Bilgi University 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Dilara Turan 34 01 Unstructured citation D. Bernez [Performer], ‘Na Go De’ [Liner notes and recordings by Scott Kiehl]. On Akom: Art of Possession, Track Number 19 [CD] (Village Pulse VPU-1009, 2000). 34 01 Unstructured citation 1 34 01 Unstructured citation 2 34 01 Unstructured citation ‘An Evening with the Flute Ensemble’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 15 [CD], Museum Collection Berlin (WERGO—SM 17082, 2003). 34 01 Unstructured citation 3 34 01 Unstructured citation ‘Bartha, the Winner’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 14 [CD], Museum Collection Berlin (WERGO —SM 17082, 2003). 34 01 Unstructured citation 4 34 01 Unstructured citation ‘The Bata Repertoire for Shango in Sakété: Oba Koso’ [Liner notes and recordings by Carol Hardy, compilation by Marcos Branda-Lacerda]. On The World’s Musical Traditions, Vol. 8: Yoruba Drums from Benin, West Africa, Track Number 7 [CD] (Smithsonian Folkways Recordings 40440, 1996). 34 01 Unstructured citation 5 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘Bira Dance at Great Zimbabwe’, YouTube, 20 January 2013 [online video recording], https://www.youtube.com/watch?v=Pbs80p4-nGM 34 01 Unstructured citation 6 34 01 Unstructured citation ‘La Cérémonie Du Bobé’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 2 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 7 34 01 Unstructured citation ‘Le Bobé S’est Rapproché’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 3 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 8 34 01 Unstructured citation ‘Musique de Divination Diye’ [Liner notes and recordings by Simha Arom]. On Anthologie de la musique des Pygmées Aka = Musical anthology of the Aka Pygmies, Disc 2, Track Number 9 [CD] (Ocora C 560171/72, 2002). 34 01 Unstructured citation 9 34 01 Unstructured citation Foundation for Hausa Performing Arts, ‘Dodorido Koroso Dance Drama Segment 2 Bori Adept’, 8 January 2012 [online video recording], https://www.youtube.com/watch?v=hpjrw_VRW1Y 34 01 Unstructured citation 10 34 01 Unstructured citation ‘Music for the Buma Dance’ [Liner notes and recordings by Simha Arom & Patrick Renaud]. On Cameroon: Baka Pygmy Music, Disc 1, Track Number 1, 10 [CD] (Smithsonian Folkways Recordings/UNESCO, 1977). 34 01 Unstructured citation 11 34 01 Unstructured citation ‘Le Jeune Eland (Nang Tzema Tzi)’ [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 18 [CD] (Ocora C 560117, 1997). 34 01 Unstructured citation 12 34 01 Unstructured citation ‘Oryx (Go’e Tzi)’ (1997) [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 19 [CD] (Ocora 560117, 1997). 34 01 Unstructured citation 13 34 01 Unstructured citation Mtendeni Maulid Ensemble, ‘Dahala 3: Marihaba / Hua Maulana / Salat / Jalla Jalaluh / Khamsa Arkan / Man A’ala / Leo Mambo’ [Liner notes by Aïsha Schmitt]. On Zanzibara, Vol. 6—A Sufi Performance from Zanzibar, Track Number 3 [CD] (Buda Musique 860219, 2012). 34 01 Unstructured citation 14 34 01 Unstructured citation ‘Hadra Song: “Al hamdou lillahAlgeria”’ [Liner notes and recordings by Pierre Augier]. On Algeria: Sahara - Music of Gourara Disc 1, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO, 1975). 34 01 Unstructured citation 15 34 01 Unstructured citation ‘Jinele: chant de divination’ [Liner notes by Jean L. Jenkins, Ralph Harrisson and Ragnar Johnson]. On Ethiopie: musiques vocales et instrumentales, Disc 2, Track Number 10 [CD] (Ocora C 580055/56, 1994). 34 01 Unstructured citation 16 34 01 Unstructured citation ‘Būderbāla / Būḥāla’. On The Music Of Islām—Volume Six: Al-Maghrib, Gnāwa Music, Marrakesh, Morocco, Track Number 4 [CD] (Celestial Harmonies 13146-2, 1997). 34 01 Unstructured citation 17 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘The Mbira Ceremony’, YouTube, 18 May 2012 [online video recording], https://www.youtube.com/watch?v=OXBQbn6wZeQ 34 01 Unstructured citation 18 34 01 Unstructured citation ‘Molimo Song of Devotion to the Forest’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 26 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 19 34 01 Unstructured citation ‘Molimo Song: Darkness Is Good’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 25 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 20 34 01 Unstructured citation Gnawalux Brussels [Screen name], ‘Stambali 1—Gnawa Tunisie’, YouTube, 27 August 2008 [online video recording], https://www.youtube.com/watch?v=wK-UasuUtdo 34 01 Unstructured citation 21 34 01 Unstructured citation ‘Tazenkharet’ [Liner notes and recordings by Finola Holiday & Geoffrey Holiday]. On Tuareg Music of the Southern Sahar, Disc 1, Track Number 13 [CD] (Ethnic Folkways Library FE 4470, 1960). 34 01 Unstructured citation 22 34 01 Unstructured citation ‘Timgui’ [Liner notes and recordings by Charles Duvelle]. On Bariba—Bénin, Track Number 5 [CD] (Philips Music Group France 538721-2, 1999). 34 01 Unstructured citation 23 34 01 Unstructured citation Mwizenge Tembo [Screen name], ‘Vimbuza Dance Ritual Ceremony’, YouTube, 20 July 2008 [online video recording], https://www.youtube.com/watch?v=6wpsNQp1ci4 34 01 Unstructured citation 24 34 01 Unstructured citation ‘Alto Bung’o Horn (Kenya)’ [Compiled by Stephen Innocenzi]. On Africa, Music from the Nonesuch Explorer Series, Track Number 1 [CD] (Nonesuch Records 7559-79793-2, 2002). 34 01 Unstructured citation 25 34 01 Unstructured citation Ivo Biegman. [Screen name], ‘Zar ritual in Egypt’, YouTube, 19 May 2011 [online video recording], https://www.youtube.com/watch?v=YNiUc4W5Kzo&list=RDYNiUc4W5Kzo#t=517 34 01 Unstructured citation 26 34 01 Unstructured citation ‘Zar Omdurman’ [Liner notes and compilation by Peter Verney]. On Rough Guide to Sudan, Track Number 7 [CD]. (World Music Network—RGNET 1152, 2005). 34 01 Unstructured citation 27 34 01 Unstructured citation ‘Danse, Bozok Semahi’ [Liner notes by Jean During and Jerome Cler]. On Turquie: Ceremonie du Djem Alevi (Turkey: Djem Alevi Ceremony), Track Number 12 [CD] (Ocora C 560125, 1998). 34 01 Unstructured citation 28 34 01 Unstructured citation kabultransit [Screen name]. ‘Kabul Transit—Zikr’, YouTube, 7 November 2007 [online video recording], https://www.youtube.com/watch?v=_BvSLgJSBBY 34 01 Unstructured citation 29 34 01 Unstructured citation ‘Zikr’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 2 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 30 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Dhikr Ceremony in Iraq’, YouTube, 1 January 2009 [online video recording], https://www.youtube.com/watch?v=yyrK-oAo3DM&list=PL5B186F663D6F3052&index=2 34 01 Unstructured citation 31 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Qadiri Dhikr—God is Eternal’, YouTube, 8 December 2008 [online video recording], https://www.youtube.com/watch?v=lV52djNFcKk&index=1&list=PL5B186F663D6F3052 34 01 Unstructured citation 32 34 01 Unstructured citation ‘Zikr/ Du’a / Tekbir’ [Liner notes and recordings by Bernard Mauguin]. On Islamic Ritual from Kosovo, Track Number 2 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08055, 1974). 34 01 Unstructured citation 33 34 01 Unstructured citation ‘Islamic Ritual Zikr’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Syria: Islamic Ritual Zikr in Aleppo, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08013, 1975). 34 01 Unstructured citation 34 34 01 Unstructured citation ‘Zikr’ [Liner notes by David Stevens]. On Turquie: Musique Soufi, Track Number 1 [CD] (Ocora C559017, 1987). 34 01 Unstructured citation 35 34 01 Unstructured citation ‘Zikr-e Allah et percussions’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 1 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 36 34 01 Unstructured citation H. Shakkûr & Ensemble Al-Kindî [Performer], ‘Meditation’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 1, Track Number 2 [CD]. (Network Medien—26.982, 1997). 34 01 Unstructured citation 37 34 01 Unstructured citation Muhammad Al Ashiq [Performer], ‘Qasida: Saluha Limadha’ [Liner notes by Andre Jouve and Christian Poche]. On Archives De La Musique Arabe Vol. 1, Track Number 2 [CD] (Ocora C 558678, 1987). 34 01 Unstructured citation 38 34 01 Unstructured citation Mobarak & Molabakhsh Nuri [Performer], ‘Qalandari Tune’. On Troubadours of Allah: Sufi Music from the Indus Valley, Disc 1, Track Number 2 [CD] (Wergo SM 16172, 1999). 34 01 Unstructured citation 39 34 01 Unstructured citation Yâr Mohammad [Performer], ‘Qalandari Tune (Khorasani)’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 2, Track Number 10 [CD] (Network Medien—26.982, 1997). 34 01 Unstructured citation 40 34 01 Unstructured citation ‘Tamburah (Voice of the Lyre)’ [Liner notes and recordings by Dieter Christensen]. On Oman: Traditional Arts of the Sultanate of Oman, Track Number 7 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08211, 1993). 34 01 Unstructured citation 41 34 01 Unstructured citation O. Y. Traibi [Performer], ‘Zar’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Yemen: Traditional Music of the North, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08004, 1978). 34 01 Unstructured citation 42 34 01 Unstructured citation Ozman Khaled [Screen name], ‘ZAAR Ceremony at Qeshm’, YouTube, 18 April 2016 [online video recording], https://www.youtube.com/watch?v=gifUSI1RFCQ 34 01 Unstructured citation 43 34 01 Unstructured citation ‘Zikr’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 19 [CD]. (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 44 34 01 Unstructured citation Aznash Ensemble [Performer]. Konya Mystic Music Festival [Screen name], ‘Aznash Ensemble’, YouTube, 5 August 2013 [online video recording], https://www.youtube.com/watch?v=TiPqB4GNzT0&list=RDtx6dwa4u8Lg&index=11 34 01 Unstructured citation 45 34 01 Unstructured citation Swiatoslaw Wojtkowiak [Screen name], ‘Chechen Female Zikr: Opening’, YouTube, 16 December 2010 [online video recording], https://www.youtube.com/watch?v=tx6dwa4u8Lg 34 01 Unstructured citation 46 34 01 Unstructured citation S. Aqmoldaev [Performer], ‘Kertolghau’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 16 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 47 34 01 Unstructured citation T. S. Qalebov and S. Tawarov [Performer], ‘Madh’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 18 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 48 34 01 Unstructured citation Supergnak [Screen name], ‘Le tour du monde en musique: Kazakhstan—Le kobyz du chaman’, YouTube, 14 January 2010 [online video recording], https://www.youtube.com/watch?v=5M6DA5w6aCc 34 01 Unstructured citation 49 34 01 Unstructured citation ‘Shod-i Uforash and Ufor-i Tezash: Dilbaram Shumo’ [Liner notes and recordings by Ted Levin]. On Bukhara: Musical Crossroads of Asia, Track Number 1 [CD] (Smithsonian Folkways Recordings SFW40050, 1991). 34 01 Unstructured citation 50 34 01 Unstructured citation ‘Cérémonie De Propitiation De Nag-Zhig’ [Liner notes and recording by Ricardo Canzio]. On Tibet: Traditions Rituelles Des Bonpos, Track Number 2 [CD] (Ocora C 580016, 1993). 34 01 Unstructured citation 51 34 01 Unstructured citation ‘Shamanic Bear Session’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 1—Shamanic & Narrative Songs of Siberian Arctic, Track Number 12 [CD] (Buda Musique—925642, 1995). 34 01 Unstructured citation 52 34 01 Unstructured citation O. A. Njavan [Performer], ‘Song, Kkas Drum and Jampa Jingle Belt, Imitation of Kamlanie’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 6: Sakhalin—Vocal & Instrumental Music, Nivkh Ujl’ta, Track Number 8 [CD] (Buda Musique—927212, 1998). 34 01 Unstructured citation 53 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 8 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 54 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 27 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 55 34 01 Unstructured citation ‘Pei-tou Liturgy (Great Bear Liturgy)’ [Produced by John Levy]. On Chinese Buddhist Music, Track Number 6 [CD] (Lyrichord—LLST 7222, 2004). 34 01 Unstructured citation 56 34 01 Unstructured citation ‘Dai Hannya Tendoku E’ [Liner notes by Toshiro Kido and Pierre Landy]. On Japan: Shomyo Buddhist Ritual—Dai Hannya Ceremony, Track Number 1, 17:00–31:42 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08036, 1975). 34 01 Unstructured citation 57 34 01 Unstructured citation ‘Sinawi’ [Liner notes and recording by Kwon Oh Sung]. On Korea: Folkloric Instrumental Traditions, Vol. 1: Sinawi and Sanjo, Track Number 1 [CD] (JVC Ethnic Sound Series #25, JVC VID- 25020, 1988). 34 01 Unstructured citation 58 34 01 Unstructured citation O-Suwa-Daiko [Performer]. ‘Ama-No-Naru Tatsu-O Dai-Kagura’ [Liner notes by Iyori Takei]. On Japan: O-Suwa-Daiko Drums, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08030, 1978). 34 01 Unstructured citation 59 34 01 Unstructured citation ‘Rimse’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 4 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 60 34 01 Unstructured citation M. K. Seo [Author and Recorder], ‘Tangak’. In the CD of the book Hanyang Kut: Korean Shaman Ritual Music from Seoul (Current Research in Ethnomusicology: Outstanding Dissertations), Track, Number 20, pp. 165, 171, and 194 (New York & London: Routledge, 2002). 34 01 Unstructured citation 61 34 01 Unstructured citation B. Salchak [Performer], ‘Kham [Shaman Ritual]’ [Liner notes and recording by Dina Oiun]. On Voices from the Distant Steppe, Track Number 16 [CD] (Real World Records—CDRW41, 1994). 34 01 Unstructured citation 62 34 01 Unstructured citation K. Yokoyama [Performer], ‘Ko-ku (Vacuity)’ [Liner notes by Akira Tamba]. On Japon, Kinshi Turata—Katsuya Yokoyama, Track Number 2 [CD] (Ocora C 558518 1994). 34 01 Unstructured citation 63 34 01 Unstructured citation V. G. Anastasija [Performer], ‘Vocals and Jajar Frame Drum: A Song for the Khololo Celebration’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 4 Kamtchatka: Dance Drums from Siberian Far East, Track Number 15 [CD] (Buda Musique—925982, 1994). 34 01 Unstructured citation 64 34 01 Unstructured citation ‘Tus’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 10 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 65 34 01 Unstructured citation ‘Upopo’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 66 34 01 Unstructured citation ‘Smaon’ [Liner notes by John Schaefer and recording by David Parsons]. On The Music of Cambodia (Royal Court Music), Track Number 19 [CD] (Celestial Harmonies 13075-2, 1993). 34 01 Unstructured citation 67 34 01 Unstructured citation ‘Beliatn Sentiyu Suite’ (excerpt) [Liner notes and recording by Philip Yampolsky]. On Music of Indonesia, Vol. 17: Kalimantan: Dayak Ritual and Festival Music, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40444, 1998). 34 01 Unstructured citation 68 34 01 Unstructured citation P. Pargi Mina [Performer] (1984), ‘Devi Ambav ro dhak’ [Recording by David Roche]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 13 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 69 34 01 Unstructured citation ‘Buddhist Ritual Music and Chant in Honor of A-phyi’ (1976). [Recording by Mireille Helffer]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 24 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 70 34 01 Unstructured citation ‘Ritual Chanting (Ngāyung) of Mediums (to Rid the Settlement of Malign Forest Spirits) [Produced by Harold C. Conklin]. On Hanunóo Music from the Philippines, Side 1, Band 11 [LP] (Ethnic Folkways Library ‎FE 4466, 1956). 34 01 Unstructured citation 71 34 01 Unstructured citation ‘Châu Văn’ [Liner notes by Trần Văn Khê]. On Viêtnam Musique de Huê: Chants de Huê et Musique de Cour, Track Number 18 [CD] (Inedit—W 260073, 2005). 34 01 Unstructured citation 72 34 01 Unstructured citation ‘Dabuih’ [Produced by Margaret J. Kartomi]. On The Music of Islam, Vol. 15: Muslim Music Of Indonesia, Aceh And West Sumatra, Disc 1, Track Number 16 [CD] (Celestial Harmonies 14232, 1998). 34 01 Unstructured citation 73 34 01 Unstructured citation ‘Dzikir Samman: Allahu Allah’ [Produced by Philip Yampolsky]. On Music of Indonesia, Vol. 19: Music of Maluku: Halmahera, Buru, Kei, Track Number 17 [CD] (Smithsonian Folkways Recordings SFW40446, 1999). 34 01 Unstructured citation 74 34 01 Unstructured citation ‘Gamelan Salunding, Tenganan—Gending Sekar Gadung’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 5 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 75 34 01 Unstructured citation ‘Musique des anciennes cérémonies religieuses avec une guru sibaso: Begu deleng/ Odak-odak/ Pertang-tang sabe/ Peseluken’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 2 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 76 34 01 Unstructured citation ‘Gondang “Pangelek-elek Ni Jujungan Ro”’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 5 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 77 34 01 Unstructured citation ‘Kecak From Blakiuh Near Mengwi’ [Liner notes by Wolfgang Hamm and Rika Reissler]. On Bali: A Suite of Tropical Music and Sound, Track Number 9 [CD] (World Network 35, 1995). 34 01 Unstructured citation 78 34 01 Unstructured citation ‘Sekaha Ganda Sari, Bona—Kecak’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 8 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 79 34 01 Unstructured citation ‘Kuda Kepang’. On The Ethnic Sampler 4, Track Number 25 [CD] (APM Music, Sonoton—SAS 107, 1995). 34 01 Unstructured citation 80 34 01 Unstructured citation ‘Phléng khlom’ [Liner notes and recording by Jacques Brunet]. On Cambodia: Folk and Ceremonial Music, Track Number 12 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08068, 1996). 34 01 Unstructured citation 81 34 01 Unstructured citation ‘Pheng Phi Fa’ [Liner notes and recording by Jacques Brunet]. On Laos—Traditional Music Of The South, Track Number 1 [CD] (UNESCO—D 8042, 1992). 34 01 Unstructured citation 82 34 01 Unstructured citation ‘Nanduni Pattu—Song to Bhadrakali’ [Liner notes and recordings by Rolf Killius]. On Ritual Music of Kerala, Track Number 5 [CD] (Archives and Research Centre for Ethnomusicology—ARCE00028, 2008). 34 01 Unstructured citation 83 34 01 Unstructured citation ‘Burmese “Pwe”’ [Liner notes and recording by the collection of La Meri]. On Exotic Dances, Track Number 4 [LP] (Folkways Records FP 52, 1950). 34 01 Unstructured citation 84 34 01 Unstructured citation ‘A Healing Ceremony at Kg’ [Liner notes and compilation by Marina Roseman]. On Dream Songs and Healing Sounds in the Rainforests of Malaysia, Track Number 10 [CD] (Smithsonian Folkways Recordings SFW40417, 1995). 34 01 Unstructured citation 85 34 01 Unstructured citation ‘Piphat Mon: Spirit Dance’ [Liner notes by Andrew Shahriari]. On Silk, Spirits and Song—Music from North Thailand, Track Number 12 [CD] (Lyrichord—LYRCD 7451, 2006). 34 01 Unstructured citation 86 34 01 Unstructured citation ‘Perdjuritan (Soldiers Dance)’ [Edited by Henry Cowell]. On Music of Indonesia, Track Number 7 [CD] (Folkways Records FE 4537, 1961). 34 01 Unstructured citation 87 34 01 Unstructured citation ‘Invocation to the Goddess Yeshiki Mamo (Tantric Puja) Part II’ [Recording by Manfred Junius and P. C. Misra]. On The Lamas of The Nyingmapa Monastery of Dehra Dun—Tibetan Ritual, Track Number 2 [CD]. (UNESCO Collection of Traditional Music of the World Series, Auvidis ‎– D 8034, 1991). 34 01 Unstructured citation 88 34 01 Unstructured citation ‘Salai Jin, Pt. 2’ [Produced by Margaret J. Kartomi]. On Music of Indonesia: Maluku & North Maluku, Disc 1, Track Number 5 [CD] (Celestial Harmonies 14232, 2003). 34 01 Unstructured citation 89 34 01 Unstructured citation ‘Bandina Devi ninna charana’ [Liner notes and recordings by Luisse Gunnel]. On Inde: Rythmes et Chants du Nord—Karnataka, Rythmes—Comptines, Chants dévotionnels, Track Number 43 [CD] (Buda Musique—1978542, 2001). 34 01 Unstructured citation 90 34 01 Unstructured citation ‘Tovil (Drum Dance)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 1 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 91 34 01 Unstructured citation ‘Kohomba Kankariya (Dance Ritual)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 2 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 92 34 01 Unstructured citation ‘Baha Festival Dance’ [Liner notes and recordings by Deben Bhattacharya (1973)]. On Music of the Santal Tribe, Track Number 11 [CD] (ARC Music Productions EUCD2510, 2014). 34 01 Unstructured citation 93 34 01 Unstructured citation ‘Uunu’ [Liner notes and recording by Hugo Zemp]. On Solomon Islands: Fataleka and Baegu Music from Malaita, Track Number 1 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08027, 1973). 34 01 Unstructured citation 94 34 01 Unstructured citation ‘Kabu Kei Conua Group [Performer], ‘Yavulo, Yavulo, Vuni Maqo E Buto’ [Liner notes by Ad Linkels]. On Viti Levu: The Multicultural Heart of Fiji, Track Number 14 [CD] (Pan 2096, 2000). 34 01 Unstructured citation 95 34 01 Unstructured citation ‘Seance Gisalo Song by Aiba with Weeping’ [Liner notes and recording by Steven Feld]. On Bosavi: Rainforest Music from Papua New Guinea, Disc Number 3, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40487, 2001). 34 01 Unstructured citation 96 34 01 Unstructured citation ‘Songs of the Spirits (Newet)—Lo, Torres’ [Liner notes by Alexandre François and Monika Stern]. On Music of Vanuatu: Celebrations and Mysteries, Track Number 39 [CD] (Inedit—W 260147, 2013). 34 01 Unstructured citation 97 34 01 Unstructured citation ‘Alujà de Xangô Aira’ (2005). On Brésil: Les Eaux D’Oxala—Afro-Brazilian Ritual: Candomblé, Track Number 8 [CD] (Buda Musique 92576-2, 1973). 34 01 Unstructured citation 98 34 01 Unstructured citation ‘Shipibo Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 12 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 99 34 01 Unstructured citation ‘Selk’ham-Tierra del Fuego-Arrow Ordeal Chant’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 2, Track Number 14 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 100 34 01 Unstructured citation ‘Kumanti’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 20 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 101 34 01 Unstructured citation ‘Warao Male Hoarotu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 102 34 01 Unstructured citation ‘Curing Ritual’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 1, Track Number 19 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 103 34 01 Unstructured citation ‘Warao Male Wisiratu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 104 34 01 Unstructured citation ‘Yanomamö Male Shaman’s Curing Song’ [Recorded by Pitts Collection]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 1 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 105 34 01 Unstructured citation ‘Yekuana Male Shaman’s Curing Song’ [Recorded by Walter Coppens]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 2 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 106 34 01 Unstructured citation ‘Healing Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 11 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 107 34 01 Unstructured citation ‘Shango Cult: Annual Ceremony in a Rural Area’ [Liner notes and recordings by George Eaton Simpson]. On Cult Music of Trinidad, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04478/FE 4478, 1961). 34 01 Unstructured citation 108 34 01 Unstructured citation ‘Shamanistic Ritual: The Dance’ [Liner notes and recordings by Peter Kloos]. On The Maroni River Caribs of Surinam, Track Number 11 [CD] (Pan PANKCD4005, 1997). 34 01 Unstructured citation 109 34 01 Unstructured citation ‘Winti Medley’ [Liner notes and recordings by Clifford Entes]. On Creole Music of Surinam, Track Number 8, 33:25’ [CD] (Smithsonian Folkways Recordings/Folkways Records FW04233/FE 4233, 1978). 34 01 Unstructured citation 110 34 01 Unstructured citation ‘Abelagudahani’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 1 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 111 34 01 Unstructured citation Gropo Laka [Performer], ‘Danca de tambor pulaya / Pulaya Drum Dance’ [Liner notes and production by Sten Sandahl]. On Music from Honduras, Disc 1, Track Number 3 [CD] (Caprice Records CAP 21632, 2000). 34 01 Unstructured citation 112 34 01 Unstructured citation ‘Salve’ [Recorded and produced by Isidro Bobadilla and Morton Marks]. On Afro-Dominican Music from San Cristobal, Dominican Republic, Track Number 3 [CD] (Smithsonian Folkways Recording/Folkways Records FW04285/FE 4285, 1983). 34 01 Unstructured citation 113 34 01 Unstructured citation ‘Kumina “Bailo”’ [Recorded and produced by Edward P.G. Seaga]. On Folk Music of Jamaica, Track Number 4 [CD] (Folkways Records FW04453/FE 4453, 1956). 34 01 Unstructured citation 114 34 01 Unstructured citation Jo Leh [Recorded and produced by Kenneth M. Bilby]. On Drums of Defiance: Maroon Music from the Earliest Free Black Communities of Jamaica, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40412, 1992). 34 01 Unstructured citation 115 34 01 Unstructured citation ‘Vodoun Dance (Three Vodoun Drums)’ [Liner notes and recordings by Harold Courlander]. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 1 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 116 34 01 Unstructured citation ‘Petro Dance (Two Drums)’. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 5 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 117 34 01 Unstructured citation ‘Bear Dance’ [Produced by Gertrude Prokosch Kurath]. On Songs and Dances of the Great Lakes Indians, Disc 1, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04003/FE 4003, 1956). 34 01 Unstructured citation 118 34 01 Unstructured citation ‘Peyote Song: First Song Cycle’ [Produced by Michael Asch]. On Anthology of North American Indian and Eskimo Music, Disc 1, Track Number 13 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04541/FE 4541, 1973). 34 01 Unstructured citation 119 34 01 Unstructured citation ‘Peyote Song’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 31 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 120 34 01 Unstructured citation ‘Crown Dance’ [Produced by Charlotte Heth and Terence Winch]. On Creation’s Journey: Native American Music, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40410, 1994). 34 01 Unstructured citation 121 34 01 Unstructured citation ‘Drum Dance’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 12 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 122 34 01 Unstructured citation Peter Webster [Performer], ‘Medicine Man Song’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 1, Track Number 4 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 34 01 Unstructured citation 123 34 01 Unstructured citation ‘Huichol—Peyote Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 9 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 124 34 01 Unstructured citation ‘Yaqui—Deer Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 8 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 125 34 01 Unstructured citation ‘Wolf Dance’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 2, Track Number 2 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 11 03 06 10.11647/obp.0403.09 193 208 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 9. An Ethnomusicology of Spiritual Realities 1 A01 21 0000000152001943 Jeffers Engelhardt Jeffers Engelhardt Professor of Music 40 028vqfs63 Amherst College 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeffers Engelhardt 12 03 06 10.11647/obp.0403.10 209 232 24 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 1 A01 21 0000000325006348 Bernard Łukasz Sawicki Bernard Łukasz Sawicki Associate Professor in Theology 40 02pn9ep17 Pontificio Ateneo Sant'Anselmo 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). 01 eng 03 00 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.<break/>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. 30 00 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.<break/>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. 20 00 Open Access Bernard Łukasz Sawicki OSB 13 03 06 10.11647/obp.0403.11 233 254 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 11. Spiritual Subjects Musicking, Biography, and the Connections We Make 1 A01 21 0000000208081701 Maeve Louise Heaney Maeve Louise Heaney Associate Professor in the Faculty of Theology and Philosophy, and the Xavier Chair for Theological Formation 40 04cxm4j25 Australian Catholic University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Maeve Louise Heaney VDMF 14 03 06 10.11647/obp.0403.12 255 270 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 12. The Impetus to Compose Where is Fantasy Bred? 1 A01 21 0000000166852589 Richard E. McGregor Richard E. McGregor Professor Emeritus of Music 40 05gd22996 University of Cumbria 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Richard E. McGregor 15 03 06 10.11647/obp.0403.13 273 284 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 13. Music in Christian Services as a Means to Induce Religious Feelings 1 A01 21 0000000236594731 Melanie Wald-Fuhrmann Melanie Wald-Fuhrmann Professor of Systematic Musicology 40 04cvxnb49 Goethe University Frankfurt 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Melanie Wald-Fuhrmann 16 03 06 10.11647/obp.0403.14 285 304 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 14. Spiritual Cultures Innovations in Choral and Classical Music 1 A01 21 0009000474739753 Jonathan Arnold Jonathan Arnold 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jonathan Arnold 17 03 06 10.11647/obp.0403.15 305 326 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 15. Listening to the Lived Experiences of Worshippers A Study of Post-Pandemic Mixed Ecology Worship 1 A01 21 0009000085950985 Elspeth Manders Elspeth Manders Doctoral Student 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Elspeth Manders 18 03 06 10.11647/obp.0403.16 327 354 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 1 A01 21 0009000054666017 Tihomir Lazić Tihomir Lazić Senior Lecturer in Systematic Theology 40 0312t3r96 Newbold College of Higher Education 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Tihomir Lazić 19 03 06 10.11647/obp.0403.17 355 370 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 17. Choral Singers and Spiritual Realities A Perspective from St Mary’s Catholic Cathedral 1 A01 21 000900004430088X Michael Ferguson Michael Ferguson Lecturer and Coordinator of Academic Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael Ferguson 20 03 06 10.11647/obp.0403.18 371 388 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 18. Music and Spirituality in Communal Song Methodists and Welsh Sporting Crowds 1 A01 21 0000000216212679 Martin V. Clarke Martin V. Clarke Senior Lecturer in Music 40 05mzfcs16 The Open University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Martin V. Clarke 21 03 06 10.11647/obp.0403.19 389 398 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Afterword ‘A Psychologist’s Perspective’ 1 A01 21 0000000193754474 John Sloboda John Sloboda Emeritus Professor 40 00340yn33 Keele University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access John Sloboda 01 URL https://www.openbookpublishers.com/ Open Book Publishers 01 Open Book Publishers 01 Publisher's website: home page https://www.openbookpublishers.com/ 02 Publisher's website: webpage for this title https://www.openbookpublishers.com/books/10.11647/OBP.0403 16 40 02wn5qz54 32 10.13039/501100000740 University of St Andrews 01 programname University of St Andrews’ Institutional Open Access Fund 16 40 02q53mk25 32 10.13039/501100013437 Templeton Religion Trust Cambridge, UK 04 01 20240628 George Corbett Sarah Moerman. Copyright of individual chapters are maintained by the chapter author(s). 02 WORLD 06 15 9781805113027 03 9781805113027 06 15 9781805113034 03 9781805113034 06 15 9781805113041 03 9781805113041 06 15 9781805113058 03 9781805113058 34 06 10.1086/421160 34 06 10.1371/journal.pone.0263384 34 01 Unstructured citation Adorno, Theodor W., ‘On the Fetish-Character in Music and the Regression of Listening’, in The Culture Industry: Selected Essays on Mass Culture, ed. by J. M. 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(Des Plaines, IL: Word on Fire, 2017). 34 01 Unstructured citation Barth, Karl, The Humanity of God (Richmond, VA: John Knox, 1972). 34 01 Unstructured citation Bartleet, Brydie-Leigh, and Carolyn Ellis, Music Autoethnographies: Making Autoethnography Sing/Making Music Personal (Bowen Hills: Australian Academic Press, 2010). 34 01 Unstructured citation Bauerschmidt, Frederick Christian, The Love That Is God: An Invitation to Christian Faith (Grand Rapids, MI: Eerdmans, 2020). 34 01 Unstructured citation Baumberger, Christoph, ‘Art and Understanding: In Defence of Aesthetic Cognitivism’, in Bilder Sehen. Perspektiven Der Bildwissenschaft, ed. by Mark Greenlee et al. (Regensburg: Schnell & Steiner, 2013), pp. 41–67. 34 01 Unstructured citation Beach, David W., ‘The Submediant as Third Divider: Its Representation at Different Structural Levels’, in Music Theory in Concept and Practice, ed. by James M. Baker, David W. Beach, and Jonathan W. 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(Seattle, WA: University of Washington Press, 1973; London: Faber, 1976). 34 06 10.1207/s15327965pli1302_01 34 06 10.1093/acprof:oso/9780190251369.001.0001 34 01 Unstructured citation Boeve, Lieven, God Interrupts History: Theology in a Time of Upheaval (New York: Continuum, 2007). 34 01 Unstructured citation Bohlman, Philip V., ‘Is All Music Religious?’, Black Sacred Music 8.1 (1994), 3–12. 34 06 10.4324/9781315538181 34 01 Unstructured citation —, Atmosfere, estasi, messe in scena. 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Zalar (Berlin: De Gruyter, forthcoming). 34 06 10.1093/oxfordhb/9780198718406.013.40 34 06 10.4324/9780429492020-8 34 06 10.1093/oxfordhb/9780190616922.013.21 WORLD 09 Open Book Publishers 02 Publisher's website: webpage for this product https://www.openbookpublishers.com/books/10.11647/obp.0403 29 Publisher's website: download the title https://books.openbookpublishers.com/10.11647/obp.0403/ 20 08 20240628 01 urn:uuid:1356d68c-1e6b-445f-8736-a40bc1e59925 03 01 01 thoth-work-id urn:uuid:94c92bfe-5893-4c4d-95b0-9ea2d380b030 01 thoth-publication-id urn:uuid:1356d68c-1e6b-445f-8736-a40bc1e59925 15 9781805113058 03 9781805113058 06 10.11647/OBP.0403 23 1443868876 00 EB E101 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Music and Spirituality Theological Approaches, Empirical Methods, and Christian Worship 1 B01 21 0000000270433253 George Corbett George Corbett Professor of Theology, School of Divinity 40 02wn5qz54 University of St Andrews 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). 2 B01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 00 478 03 09 18 11 2 12 AVA 93 AVLK 10 MUS048000 B2 Music B2 Archaeology and Religion 12 AVGD 93 AVLA 10 MUS048010 93 AVA 12 HRCR 10 REL055000 93 QRVJ1 20 Spiritual; Western culture; Christianity; Musicology; Ethnomusicology; Neuroscience 01 06 02 00 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 – incl 03 00 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. 30 00 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. 04 00 Acknowledgments Notes on Contributors Introduction Foreword: A Composer’s Perspective I. THEOLOGICAL APPROACHES 1. Encountering the Uncontrollable: Music’s Resistance to Reductionism and Its Theological Ramifications 2. Cross and Consolation: Music’s Empathic Spirituality 3. Music, Breath, and Spirit 4. An Adorative Posture towards Music and Spiritual Realities 5. Religion, Science, and Music: An Augustinian Trinity 6. Dissonant Spirituality: A Hermeneutical Aesthetics of Outlaw Country II. EMPIRICAL METHODS 7. From the Sacred to the Ordinary through the Lens of Psychological Science 8. An Inquiry into Musical Trance 9. An Ethnomusicology of Spiritual Realities 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 11. Spiritual Subjects: Musicking, Biography, and the Connections We Make 12. The Impetus to Compose: Where is Fantasy Bred? III. CHRISTIAN WORSHIP 13. Music in Christian Services as a Means to Induce Religious Feelings 14. Spiritual Cultures: Innovations in Choral and Classical Music 15. Listening to the Lived Experiences of Worshippers: A Study of Post-Pandemic Mixed Ecology Worship 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 17. Choral Singers and Spiritual Realities:A Perspective from St Mary’s Catholic Cathedral 18. Music and Spirituality in Communal Song: Methodists and Welsh Sporting Crowds Afterword: A Psychologist’s Perspective List of Figures and Tables Bibliography Index 20 00 Open Access 01 00 03 02 https://books.openbookpublishers.com/10.11647/obp.0403_frontcover.jpg 1 03 06 10.11647/obp.0403.20 1 12 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction 1 A01 21 0000000270433253 George Corbett George Corbett Professor of Theology 40 02wn5qz54 University of St Andrews 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). 2 A01 21 0000000322799274 Sarah Moerman Sarah Moerman Research Fellow in Theology and Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access George Corbett and Sarah Moerman 2 03 06 10.11647/obp.0403.00 13 18 6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Foreword A Composer’s Perspective’ 1 A01 James MacMillan James MacMillan Professor 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access James MacMillan 3 03 06 10.11647/obp.0403.01 21 40 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 1. Encountering the Uncontrollable Music’s Resistance to Reductionism and its Theological Ramifications 1 A01 21 000900037406316X Jeremy Begbie Jeremy Begbie Thomas A. Langford Distinguished Research Professor of Theology 40 00py81415 Duke University 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) 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeremy Begbie 4 03 06 10.11647/obp.0403.02 41 54 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 2. Cross and Consolation Music’s Empathic Spirituality 1 A01 21 0009000077135374 Peter C. Bouteneff Peter C. Bouteneff Professor of Systematic Theology and Kulik Professor of Sacred Arts 40 0428qkc73 Saint Vladimir's Orthodox Theological Seminary 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Peter C. Bouteneff 5 03 06 10.11647/obp.0403.03 55 72 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 3. Music, Breath, and Spirit 1 A01 21 0009000984620648 Michael O’Connor Michael O’Connor Associate Professor 40 03dbr7087 University of Toronto 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael O’Connor 6 03 06 10.11647/obp.0403.04 73 86 14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 4. An Adorative Posture towards Music and Spiritual Realities 1 A01 21 0000000336492062 Férdia J. Stone-Davis Férdia J. Stone-Davis Director of Research at the Margaret Beaufort Institute 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Férdia J. Stone-Davis 7 03 06 10.11647/obp.0403.05 87 108 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 5. Religion, Science, and Music An Augustinian Trinity 1 A01 21 0000000274018989 Bennett Zon Bennett Zon Professor of Music 40 01v29qb04 Durham University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Bennett Zon 8 03 06 10.11647/obp.0403.06 109 136 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 6. Dissonant Spirituality A Hermeneutical Aesthetics of Outlaw Country 1 A01 21 0009000513590673 C.M. Howell C.M. Howell Doctoral Researcher 40 02wn5qz54 University of St Andrews C.M. Howell is a doctoral researcher at the University of St Andrews, where he is working on the theological aesthetics of Eberhard Jüngel. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Charles Howell 9 03 06 10.11647/obp.0403.07 139 158 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 7. From the Sacred to the Ordinary through the Lens of Psychological Science 1 A01 21 0000000315601418 Yeshaya David M. Greenberg Yeshaya David M. Greenberg Researcher 40 013meh722 University of Cambridge 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access David M. Greenberg 10 03 06 10.11647/obp.0403.08 159 192 34 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 8. An Inquiry into Musical Trance 1 A01 21 0000000157680818 Dilara Turan Dilara Turan Research Assistant in the Department of Music 40 04pm4x478 Istanbul Bilgi University 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Dilara Turan 34 01 Unstructured citation D. Bernez [Performer], ‘Na Go De’ [Liner notes and recordings by Scott Kiehl]. On Akom: Art of Possession, Track Number 19 [CD] (Village Pulse VPU-1009, 2000). 34 01 Unstructured citation 1 34 01 Unstructured citation 2 34 01 Unstructured citation ‘An Evening with the Flute Ensemble’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 15 [CD], Museum Collection Berlin (WERGO—SM 17082, 2003). 34 01 Unstructured citation 3 34 01 Unstructured citation ‘Bartha, the Winner’ [Liner notes and recordings by Artur Simon]. On Berta—Waza, Bal Naggaro, Abangaran—Die Musik Der Berta Am Blauen Nil—Music of the Berta from the Blue Nile, Track Number 14 [CD], Museum Collection Berlin (WERGO —SM 17082, 2003). 34 01 Unstructured citation 4 34 01 Unstructured citation ‘The Bata Repertoire for Shango in Sakété: Oba Koso’ [Liner notes and recordings by Carol Hardy, compilation by Marcos Branda-Lacerda]. On The World’s Musical Traditions, Vol. 8: Yoruba Drums from Benin, West Africa, Track Number 7 [CD] (Smithsonian Folkways Recordings 40440, 1996). 34 01 Unstructured citation 5 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘Bira Dance at Great Zimbabwe’, YouTube, 20 January 2013 [online video recording], https://www.youtube.com/watch?v=Pbs80p4-nGM 34 01 Unstructured citation 6 34 01 Unstructured citation ‘La Cérémonie Du Bobé’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 2 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 7 34 01 Unstructured citation ‘Le Bobé S’est Rapproché’ [Produced by Caroline Bourgine]. On Congo: Cérémonie du Bobé, Track Number 3 [CD] (Ocora W 560010, 1991). 34 01 Unstructured citation 8 34 01 Unstructured citation ‘Musique de Divination Diye’ [Liner notes and recordings by Simha Arom]. On Anthologie de la musique des Pygmées Aka = Musical anthology of the Aka Pygmies, Disc 2, Track Number 9 [CD] (Ocora C 560171/72, 2002). 34 01 Unstructured citation 9 34 01 Unstructured citation Foundation for Hausa Performing Arts, ‘Dodorido Koroso Dance Drama Segment 2 Bori Adept’, 8 January 2012 [online video recording], https://www.youtube.com/watch?v=hpjrw_VRW1Y 34 01 Unstructured citation 10 34 01 Unstructured citation ‘Music for the Buma Dance’ [Liner notes and recordings by Simha Arom & Patrick Renaud]. On Cameroon: Baka Pygmy Music, Disc 1, Track Number 1, 10 [CD] (Smithsonian Folkways Recordings/UNESCO, 1977). 34 01 Unstructured citation 11 34 01 Unstructured citation ‘Le Jeune Eland (Nang Tzema Tzi)’ [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 18 [CD] (Ocora C 560117, 1997). 34 01 Unstructured citation 12 34 01 Unstructured citation ‘Oryx (Go’e Tzi)’ (1997) [Liner notes by Emmanuelle Olivier]. On Namibia: Songs of the Ju’hoansi Bushmen, Track Number 19 [CD] (Ocora 560117, 1997). 34 01 Unstructured citation 13 34 01 Unstructured citation Mtendeni Maulid Ensemble, ‘Dahala 3: Marihaba / Hua Maulana / Salat / Jalla Jalaluh / Khamsa Arkan / Man A’ala / Leo Mambo’ [Liner notes by Aïsha Schmitt]. On Zanzibara, Vol. 6—A Sufi Performance from Zanzibar, Track Number 3 [CD] (Buda Musique 860219, 2012). 34 01 Unstructured citation 14 34 01 Unstructured citation ‘Hadra Song: “Al hamdou lillahAlgeria”’ [Liner notes and recordings by Pierre Augier]. On Algeria: Sahara - Music of Gourara Disc 1, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO, 1975). 34 01 Unstructured citation 15 34 01 Unstructured citation ‘Jinele: chant de divination’ [Liner notes by Jean L. Jenkins, Ralph Harrisson and Ragnar Johnson]. On Ethiopie: musiques vocales et instrumentales, Disc 2, Track Number 10 [CD] (Ocora C 580055/56, 1994). 34 01 Unstructured citation 16 34 01 Unstructured citation ‘Būderbāla / Būḥāla’. On The Music Of Islām—Volume Six: Al-Maghrib, Gnāwa Music, Marrakesh, Morocco, Track Number 4 [CD] (Celestial Harmonies 13146-2, 1997). 34 01 Unstructured citation 17 34 01 Unstructured citation Matsuhira Yuji [Screen name], ‘The Mbira Ceremony’, YouTube, 18 May 2012 [online video recording], https://www.youtube.com/watch?v=OXBQbn6wZeQ 34 01 Unstructured citation 18 34 01 Unstructured citation ‘Molimo Song of Devotion to the Forest’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 26 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 19 34 01 Unstructured citation ‘Molimo Song: Darkness Is Good’ [Liner notes and recordings by Colin Turnbull and Francis S. Chapman]. On Mbuti Pygmies of the Ituri Rainforest, Track Number 25 [CD] (Smithsonian Folkways Recordings 40401, 1997). 34 01 Unstructured citation 20 34 01 Unstructured citation Gnawalux Brussels [Screen name], ‘Stambali 1—Gnawa Tunisie’, YouTube, 27 August 2008 [online video recording], https://www.youtube.com/watch?v=wK-UasuUtdo 34 01 Unstructured citation 21 34 01 Unstructured citation ‘Tazenkharet’ [Liner notes and recordings by Finola Holiday & Geoffrey Holiday]. On Tuareg Music of the Southern Sahar, Disc 1, Track Number 13 [CD] (Ethnic Folkways Library FE 4470, 1960). 34 01 Unstructured citation 22 34 01 Unstructured citation ‘Timgui’ [Liner notes and recordings by Charles Duvelle]. On Bariba—Bénin, Track Number 5 [CD] (Philips Music Group France 538721-2, 1999). 34 01 Unstructured citation 23 34 01 Unstructured citation Mwizenge Tembo [Screen name], ‘Vimbuza Dance Ritual Ceremony’, YouTube, 20 July 2008 [online video recording], https://www.youtube.com/watch?v=6wpsNQp1ci4 34 01 Unstructured citation 24 34 01 Unstructured citation ‘Alto Bung’o Horn (Kenya)’ [Compiled by Stephen Innocenzi]. On Africa, Music from the Nonesuch Explorer Series, Track Number 1 [CD] (Nonesuch Records 7559-79793-2, 2002). 34 01 Unstructured citation 25 34 01 Unstructured citation Ivo Biegman. [Screen name], ‘Zar ritual in Egypt’, YouTube, 19 May 2011 [online video recording], https://www.youtube.com/watch?v=YNiUc4W5Kzo&list=RDYNiUc4W5Kzo#t=517 34 01 Unstructured citation 26 34 01 Unstructured citation ‘Zar Omdurman’ [Liner notes and compilation by Peter Verney]. On Rough Guide to Sudan, Track Number 7 [CD]. (World Music Network—RGNET 1152, 2005). 34 01 Unstructured citation 27 34 01 Unstructured citation ‘Danse, Bozok Semahi’ [Liner notes by Jean During and Jerome Cler]. On Turquie: Ceremonie du Djem Alevi (Turkey: Djem Alevi Ceremony), Track Number 12 [CD] (Ocora C 560125, 1998). 34 01 Unstructured citation 28 34 01 Unstructured citation kabultransit [Screen name]. ‘Kabul Transit—Zikr’, YouTube, 7 November 2007 [online video recording], https://www.youtube.com/watch?v=_BvSLgJSBBY 34 01 Unstructured citation 29 34 01 Unstructured citation ‘Zikr’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 2 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 30 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Dhikr Ceremony in Iraq’, YouTube, 1 January 2009 [online video recording], https://www.youtube.com/watch?v=yyrK-oAo3DM&list=PL5B186F663D6F3052&index=2 34 01 Unstructured citation 31 34 01 Unstructured citation Iraqi Maqam [Screen name], ‘Qadiri Dhikr—God is Eternal’, YouTube, 8 December 2008 [online video recording], https://www.youtube.com/watch?v=lV52djNFcKk&index=1&list=PL5B186F663D6F3052 34 01 Unstructured citation 32 34 01 Unstructured citation ‘Zikr/ Du’a / Tekbir’ [Liner notes and recordings by Bernard Mauguin]. On Islamic Ritual from Kosovo, Track Number 2 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08055, 1974). 34 01 Unstructured citation 33 34 01 Unstructured citation ‘Islamic Ritual Zikr’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Syria: Islamic Ritual Zikr in Aleppo, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08013, 1975). 34 01 Unstructured citation 34 34 01 Unstructured citation ‘Zikr’ [Liner notes by David Stevens]. On Turquie: Musique Soufi, Track Number 1 [CD] (Ocora C559017, 1987). 34 01 Unstructured citation 35 34 01 Unstructured citation ‘Zikr-e Allah et percussions’ [Liner notes by Jean During]. On Kurdistan: Zikr et chants soufis, Disc 2, Track Number 1 [CD] (Ocora C 560071/72, 1994). 34 01 Unstructured citation 36 34 01 Unstructured citation H. Shakkûr & Ensemble Al-Kindî [Performer], ‘Meditation’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 1, Track Number 2 [CD]. (Network Medien—26.982, 1997). 34 01 Unstructured citation 37 34 01 Unstructured citation Muhammad Al Ashiq [Performer], ‘Qasida: Saluha Limadha’ [Liner notes by Andre Jouve and Christian Poche]. On Archives De La Musique Arabe Vol. 1, Track Number 2 [CD] (Ocora C 558678, 1987). 34 01 Unstructured citation 38 34 01 Unstructured citation Mobarak & Molabakhsh Nuri [Performer], ‘Qalandari Tune’. On Troubadours of Allah: Sufi Music from the Indus Valley, Disc 1, Track Number 2 [CD] (Wergo SM 16172, 1999). 34 01 Unstructured citation 39 34 01 Unstructured citation Yâr Mohammad [Performer], ‘Qalandari Tune (Khorasani)’ [Liner notes by Peter Pannke]. On Sufi Soul (Echos Du Paradis), Disc 2, Track Number 10 [CD] (Network Medien—26.982, 1997). 34 01 Unstructured citation 40 34 01 Unstructured citation ‘Tamburah (Voice of the Lyre)’ [Liner notes and recordings by Dieter Christensen]. On Oman: Traditional Arts of the Sultanate of Oman, Track Number 7 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08211, 1993). 34 01 Unstructured citation 41 34 01 Unstructured citation O. Y. Traibi [Performer], ‘Zar’ [Liner notes by Christian Poché, recordings by Jochen Wenzel]. On Yemen: Traditional Music of the North, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08004, 1978). 34 01 Unstructured citation 42 34 01 Unstructured citation Ozman Khaled [Screen name], ‘ZAAR Ceremony at Qeshm’, YouTube, 18 April 2016 [online video recording], https://www.youtube.com/watch?v=gifUSI1RFCQ 34 01 Unstructured citation 43 34 01 Unstructured citation ‘Zikr’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 19 [CD]. (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 44 34 01 Unstructured citation Aznash Ensemble [Performer]. Konya Mystic Music Festival [Screen name], ‘Aznash Ensemble’, YouTube, 5 August 2013 [online video recording], https://www.youtube.com/watch?v=TiPqB4GNzT0&list=RDtx6dwa4u8Lg&index=11 34 01 Unstructured citation 45 34 01 Unstructured citation Swiatoslaw Wojtkowiak [Screen name], ‘Chechen Female Zikr: Opening’, YouTube, 16 December 2010 [online video recording], https://www.youtube.com/watch?v=tx6dwa4u8Lg 34 01 Unstructured citation 46 34 01 Unstructured citation S. Aqmoldaev [Performer], ‘Kertolghau’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 16 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 47 34 01 Unstructured citation T. S. Qalebov and S. Tawarov [Performer], ‘Madh’ [Liner notes and production by Jean During and Ted Levin]. On The Silk Road: A Musical Caravan, Disc 2, Track Number 18 [CD] (Smithsonian Folkways Recordings SFW40438, 2002). 34 01 Unstructured citation 48 34 01 Unstructured citation Supergnak [Screen name], ‘Le tour du monde en musique: Kazakhstan—Le kobyz du chaman’, YouTube, 14 January 2010 [online video recording], https://www.youtube.com/watch?v=5M6DA5w6aCc 34 01 Unstructured citation 49 34 01 Unstructured citation ‘Shod-i Uforash and Ufor-i Tezash: Dilbaram Shumo’ [Liner notes and recordings by Ted Levin]. On Bukhara: Musical Crossroads of Asia, Track Number 1 [CD] (Smithsonian Folkways Recordings SFW40050, 1991). 34 01 Unstructured citation 50 34 01 Unstructured citation ‘Cérémonie De Propitiation De Nag-Zhig’ [Liner notes and recording by Ricardo Canzio]. On Tibet: Traditions Rituelles Des Bonpos, Track Number 2 [CD] (Ocora C 580016, 1993). 34 01 Unstructured citation 51 34 01 Unstructured citation ‘Shamanic Bear Session’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 1—Shamanic & Narrative Songs of Siberian Arctic, Track Number 12 [CD] (Buda Musique—925642, 1995). 34 01 Unstructured citation 52 34 01 Unstructured citation O. A. Njavan [Performer], ‘Song, Kkas Drum and Jampa Jingle Belt, Imitation of Kamlanie’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 6: Sakhalin—Vocal & Instrumental Music, Nivkh Ujl’ta, Track Number 8 [CD] (Buda Musique—927212, 1998). 34 01 Unstructured citation 53 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 8 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 54 34 01 Unstructured citation ‘Chant Chamanique’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 5—Shamanic & Daily Songs from the Amur Basin, Track Number 27 [CD] (Buda Musique—926712, 1997). 34 01 Unstructured citation 55 34 01 Unstructured citation ‘Pei-tou Liturgy (Great Bear Liturgy)’ [Produced by John Levy]. On Chinese Buddhist Music, Track Number 6 [CD] (Lyrichord—LLST 7222, 2004). 34 01 Unstructured citation 56 34 01 Unstructured citation ‘Dai Hannya Tendoku E’ [Liner notes by Toshiro Kido and Pierre Landy]. On Japan: Shomyo Buddhist Ritual—Dai Hannya Ceremony, Track Number 1, 17:00–31:42 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08036, 1975). 34 01 Unstructured citation 57 34 01 Unstructured citation ‘Sinawi’ [Liner notes and recording by Kwon Oh Sung]. On Korea: Folkloric Instrumental Traditions, Vol. 1: Sinawi and Sanjo, Track Number 1 [CD] (JVC Ethnic Sound Series #25, JVC VID- 25020, 1988). 34 01 Unstructured citation 58 34 01 Unstructured citation O-Suwa-Daiko [Performer]. ‘Ama-No-Naru Tatsu-O Dai-Kagura’ [Liner notes by Iyori Takei]. On Japan: O-Suwa-Daiko Drums, Track Number 3 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08030, 1978). 34 01 Unstructured citation 59 34 01 Unstructured citation ‘Rimse’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 4 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 60 34 01 Unstructured citation M. K. Seo [Author and Recorder], ‘Tangak’. In the CD of the book Hanyang Kut: Korean Shaman Ritual Music from Seoul (Current Research in Ethnomusicology: Outstanding Dissertations), Track, Number 20, pp. 165, 171, and 194 (New York & London: Routledge, 2002). 34 01 Unstructured citation 61 34 01 Unstructured citation B. Salchak [Performer], ‘Kham [Shaman Ritual]’ [Liner notes and recording by Dina Oiun]. On Voices from the Distant Steppe, Track Number 16 [CD] (Real World Records—CDRW41, 1994). 34 01 Unstructured citation 62 34 01 Unstructured citation K. Yokoyama [Performer], ‘Ko-ku (Vacuity)’ [Liner notes by Akira Tamba]. On Japon, Kinshi Turata—Katsuya Yokoyama, Track Number 2 [CD] (Ocora C 558518 1994). 34 01 Unstructured citation 63 34 01 Unstructured citation V. G. Anastasija [Performer], ‘Vocals and Jajar Frame Drum: A Song for the Khololo Celebration’ [Liner notes and recording by Henry Lecomte]. On Siberia, Vol. 4 Kamtchatka: Dance Drums from Siberian Far East, Track Number 15 [CD] (Buda Musique—925982, 1994). 34 01 Unstructured citation 64 34 01 Unstructured citation ‘Tus’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 10 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 65 34 01 Unstructured citation ‘Upopo’ [Liner notes and recording by Jean-Jacques Nattiez and Kazuyuki Tanimoto]. On Japan: Ainu Songs, Track Number 2 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08047, 1980). 34 01 Unstructured citation 66 34 01 Unstructured citation ‘Smaon’ [Liner notes by John Schaefer and recording by David Parsons]. On The Music of Cambodia (Royal Court Music), Track Number 19 [CD] (Celestial Harmonies 13075-2, 1993). 34 01 Unstructured citation 67 34 01 Unstructured citation ‘Beliatn Sentiyu Suite’ (excerpt) [Liner notes and recording by Philip Yampolsky]. On Music of Indonesia, Vol. 17: Kalimantan: Dayak Ritual and Festival Music, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40444, 1998). 34 01 Unstructured citation 68 34 01 Unstructured citation P. Pargi Mina [Performer] (1984), ‘Devi Ambav ro dhak’ [Recording by David Roche]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 13 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 69 34 01 Unstructured citation ‘Buddhist Ritual Music and Chant in Honor of A-phyi’ (1976). [Recording by Mireille Helffer]. On The Garland Encyclopedia of World Music, Vol. 5: South Asia: The Indian Subcontinent Audio, Track Number 24 [CD] (Garland Publishing, 2000). 34 01 Unstructured citation 70 34 01 Unstructured citation ‘Ritual Chanting (Ngāyung) of Mediums (to Rid the Settlement of Malign Forest Spirits) [Produced by Harold C. Conklin]. On Hanunóo Music from the Philippines, Side 1, Band 11 [LP] (Ethnic Folkways Library ‎FE 4466, 1956). 34 01 Unstructured citation 71 34 01 Unstructured citation ‘Châu Văn’ [Liner notes by Trần Văn Khê]. On Viêtnam Musique de Huê: Chants de Huê et Musique de Cour, Track Number 18 [CD] (Inedit—W 260073, 2005). 34 01 Unstructured citation 72 34 01 Unstructured citation ‘Dabuih’ [Produced by Margaret J. Kartomi]. On The Music of Islam, Vol. 15: Muslim Music Of Indonesia, Aceh And West Sumatra, Disc 1, Track Number 16 [CD] (Celestial Harmonies 14232, 1998). 34 01 Unstructured citation 73 34 01 Unstructured citation ‘Dzikir Samman: Allahu Allah’ [Produced by Philip Yampolsky]. On Music of Indonesia, Vol. 19: Music of Maluku: Halmahera, Buru, Kei, Track Number 17 [CD] (Smithsonian Folkways Recordings SFW40446, 1999). 34 01 Unstructured citation 74 34 01 Unstructured citation ‘Gamelan Salunding, Tenganan—Gending Sekar Gadung’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 5 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 75 34 01 Unstructured citation ‘Musique des anciennes cérémonies religieuses avec une guru sibaso: Begu deleng/ Odak-odak/ Pertang-tang sabe/ Peseluken’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 2 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 76 34 01 Unstructured citation ‘Gondang “Pangelek-elek Ni Jujungan Ro”’ [Liner notes by Artur Simon]. On Sumatra: Musiques Des Batak Karo, Toba, Simalungun, Track Number 5 [CD] (Inedit—W 260061, 1995). 34 01 Unstructured citation 77 34 01 Unstructured citation ‘Kecak From Blakiuh Near Mengwi’ [Liner notes by Wolfgang Hamm and Rika Reissler]. On Bali: A Suite of Tropical Music and Sound, Track Number 9 [CD] (World Network 35, 1995). 34 01 Unstructured citation 78 34 01 Unstructured citation ‘Sekaha Ganda Sari, Bona—Kecak’ [Liner notes and recording by David Lewiston]. On Bali: Gamelan & Kecak, Track Number 8 [CD] (Elektra Nonesuch—9 79204-2, 1989). 34 01 Unstructured citation 79 34 01 Unstructured citation ‘Kuda Kepang’. On The Ethnic Sampler 4, Track Number 25 [CD] (APM Music, Sonoton—SAS 107, 1995). 34 01 Unstructured citation 80 34 01 Unstructured citation ‘Phléng khlom’ [Liner notes and recording by Jacques Brunet]. On Cambodia: Folk and Ceremonial Music, Track Number 12 [CD] (Smithsonian Folkways Recordings/ UNESCO-UNES08068, 1996). 34 01 Unstructured citation 81 34 01 Unstructured citation ‘Pheng Phi Fa’ [Liner notes and recording by Jacques Brunet]. On Laos—Traditional Music Of The South, Track Number 1 [CD] (UNESCO—D 8042, 1992). 34 01 Unstructured citation 82 34 01 Unstructured citation ‘Nanduni Pattu—Song to Bhadrakali’ [Liner notes and recordings by Rolf Killius]. On Ritual Music of Kerala, Track Number 5 [CD] (Archives and Research Centre for Ethnomusicology—ARCE00028, 2008). 34 01 Unstructured citation 83 34 01 Unstructured citation ‘Burmese “Pwe”’ [Liner notes and recording by the collection of La Meri]. On Exotic Dances, Track Number 4 [LP] (Folkways Records FP 52, 1950). 34 01 Unstructured citation 84 34 01 Unstructured citation ‘A Healing Ceremony at Kg’ [Liner notes and compilation by Marina Roseman]. On Dream Songs and Healing Sounds in the Rainforests of Malaysia, Track Number 10 [CD] (Smithsonian Folkways Recordings SFW40417, 1995). 34 01 Unstructured citation 85 34 01 Unstructured citation ‘Piphat Mon: Spirit Dance’ [Liner notes by Andrew Shahriari]. On Silk, Spirits and Song—Music from North Thailand, Track Number 12 [CD] (Lyrichord—LYRCD 7451, 2006). 34 01 Unstructured citation 86 34 01 Unstructured citation ‘Perdjuritan (Soldiers Dance)’ [Edited by Henry Cowell]. On Music of Indonesia, Track Number 7 [CD] (Folkways Records FE 4537, 1961). 34 01 Unstructured citation 87 34 01 Unstructured citation ‘Invocation to the Goddess Yeshiki Mamo (Tantric Puja) Part II’ [Recording by Manfred Junius and P. C. Misra]. On The Lamas of The Nyingmapa Monastery of Dehra Dun—Tibetan Ritual, Track Number 2 [CD]. (UNESCO Collection of Traditional Music of the World Series, Auvidis ‎– D 8034, 1991). 34 01 Unstructured citation 88 34 01 Unstructured citation ‘Salai Jin, Pt. 2’ [Produced by Margaret J. Kartomi]. On Music of Indonesia: Maluku & North Maluku, Disc 1, Track Number 5 [CD] (Celestial Harmonies 14232, 2003). 34 01 Unstructured citation 89 34 01 Unstructured citation ‘Bandina Devi ninna charana’ [Liner notes and recordings by Luisse Gunnel]. On Inde: Rythmes et Chants du Nord—Karnataka, Rythmes—Comptines, Chants dévotionnels, Track Number 43 [CD] (Buda Musique—1978542, 2001). 34 01 Unstructured citation 90 34 01 Unstructured citation ‘Tovil (Drum Dance)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 1 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 91 34 01 Unstructured citation ‘Kohomba Kankariya (Dance Ritual)’. On Sri Lanka, Nepal & Bhutan: Ritual, Festival, Masked Dance and Drum Traditions, Track Number 2 [CD] (Music of the Earth, 2015). 34 01 Unstructured citation 92 34 01 Unstructured citation ‘Baha Festival Dance’ [Liner notes and recordings by Deben Bhattacharya (1973)]. On Music of the Santal Tribe, Track Number 11 [CD] (ARC Music Productions EUCD2510, 2014). 34 01 Unstructured citation 93 34 01 Unstructured citation ‘Uunu’ [Liner notes and recording by Hugo Zemp]. On Solomon Islands: Fataleka and Baegu Music from Malaita, Track Number 1 [CD] (Smithsonian Folkways Recordings/UNESCO-UNES08027, 1973). 34 01 Unstructured citation 94 34 01 Unstructured citation ‘Kabu Kei Conua Group [Performer], ‘Yavulo, Yavulo, Vuni Maqo E Buto’ [Liner notes by Ad Linkels]. On Viti Levu: The Multicultural Heart of Fiji, Track Number 14 [CD] (Pan 2096, 2000). 34 01 Unstructured citation 95 34 01 Unstructured citation ‘Seance Gisalo Song by Aiba with Weeping’ [Liner notes and recording by Steven Feld]. On Bosavi: Rainforest Music from Papua New Guinea, Disc Number 3, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40487, 2001). 34 01 Unstructured citation 96 34 01 Unstructured citation ‘Songs of the Spirits (Newet)—Lo, Torres’ [Liner notes by Alexandre François and Monika Stern]. On Music of Vanuatu: Celebrations and Mysteries, Track Number 39 [CD] (Inedit—W 260147, 2013). 34 01 Unstructured citation 97 34 01 Unstructured citation ‘Alujà de Xangô Aira’ (2005). On Brésil: Les Eaux D’Oxala—Afro-Brazilian Ritual: Candomblé, Track Number 8 [CD] (Buda Musique 92576-2, 1973). 34 01 Unstructured citation 98 34 01 Unstructured citation ‘Shipibo Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 12 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 99 34 01 Unstructured citation ‘Selk’ham-Tierra del Fuego-Arrow Ordeal Chant’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 2, Track Number 14 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 100 34 01 Unstructured citation ‘Kumanti’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & The Caribbean, Track Number 20 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 101 34 01 Unstructured citation ‘Warao Male Hoarotu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 102 34 01 Unstructured citation ‘Curing Ritual’ [Produced by Alan Lazar]. On Anthology of Central and South American Indian Music, Disc 1, Track Number 19 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04542/FE 4542, 1975). 34 01 Unstructured citation 103 34 01 Unstructured citation ‘Warao Male Wisiratu Shaman’s Curing Song’ [Recorded by Dale A. Olsen]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 3 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 104 34 01 Unstructured citation ‘Yanomamö Male Shaman’s Curing Song’ [Recorded by Pitts Collection]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 1 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 105 34 01 Unstructured citation ‘Yekuana Male Shaman’s Curing Song’ [Recorded by Walter Coppens]. On The Garland Encyclopedia of World Music, Vol. 2: South America, Mexico, Central America, and the Caribbean Audio CD, Track Number 2 [CD] (Garland Publishing, 1998). 34 01 Unstructured citation 106 34 01 Unstructured citation ‘Healing Song’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 11 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 107 34 01 Unstructured citation ‘Shango Cult: Annual Ceremony in a Rural Area’ [Liner notes and recordings by George Eaton Simpson]. On Cult Music of Trinidad, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04478/FE 4478, 1961). 34 01 Unstructured citation 108 34 01 Unstructured citation ‘Shamanistic Ritual: The Dance’ [Liner notes and recordings by Peter Kloos]. On The Maroni River Caribs of Surinam, Track Number 11 [CD] (Pan PANKCD4005, 1997). 34 01 Unstructured citation 109 34 01 Unstructured citation ‘Winti Medley’ [Liner notes and recordings by Clifford Entes]. On Creole Music of Surinam, Track Number 8, 33:25’ [CD] (Smithsonian Folkways Recordings/Folkways Records FW04233/FE 4233, 1978). 34 01 Unstructured citation 110 34 01 Unstructured citation ‘Abelagudahani’ [Produced by Alan Jabbour and Mickey Hart]. On The Spirit Cries: Music of the Rain Forests of South America & the Caribbean, Track Number 1 [CD] (Rykodisc—RCD 10250, 1993). 34 01 Unstructured citation 111 34 01 Unstructured citation Gropo Laka [Performer], ‘Danca de tambor pulaya / Pulaya Drum Dance’ [Liner notes and production by Sten Sandahl]. On Music from Honduras, Disc 1, Track Number 3 [CD] (Caprice Records CAP 21632, 2000). 34 01 Unstructured citation 112 34 01 Unstructured citation ‘Salve’ [Recorded and produced by Isidro Bobadilla and Morton Marks]. On Afro-Dominican Music from San Cristobal, Dominican Republic, Track Number 3 [CD] (Smithsonian Folkways Recording/Folkways Records FW04285/FE 4285, 1983). 34 01 Unstructured citation 113 34 01 Unstructured citation ‘Kumina “Bailo”’ [Recorded and produced by Edward P.G. Seaga]. On Folk Music of Jamaica, Track Number 4 [CD] (Folkways Records FW04453/FE 4453, 1956). 34 01 Unstructured citation 114 34 01 Unstructured citation Jo Leh [Recorded and produced by Kenneth M. Bilby]. On Drums of Defiance: Maroon Music from the Earliest Free Black Communities of Jamaica, Track Number 14 [CD] (Smithsonian Folkways Recordings SFW40412, 1992). 34 01 Unstructured citation 115 34 01 Unstructured citation ‘Vodoun Dance (Three Vodoun Drums)’ [Liner notes and recordings by Harold Courlander]. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 1 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 116 34 01 Unstructured citation ‘Petro Dance (Two Drums)’. On Music of Haiti: Vol. 2, Drums of Haiti, Track Number 5 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04403/FE 4403, 1950). 34 01 Unstructured citation 117 34 01 Unstructured citation ‘Bear Dance’ [Produced by Gertrude Prokosch Kurath]. On Songs and Dances of the Great Lakes Indians, Disc 1, Track Number 7 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04003/FE 4003, 1956). 34 01 Unstructured citation 118 34 01 Unstructured citation ‘Peyote Song: First Song Cycle’ [Produced by Michael Asch]. On Anthology of North American Indian and Eskimo Music, Disc 1, Track Number 13 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04541/FE 4541, 1973). 34 01 Unstructured citation 119 34 01 Unstructured citation ‘Peyote Song’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 31 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 120 34 01 Unstructured citation ‘Crown Dance’ [Produced by Charlotte Heth and Terence Winch]. On Creation’s Journey: Native American Music, Track Number 4 [CD] (Smithsonian Folkways Recordings SFW40410, 1994). 34 01 Unstructured citation 121 34 01 Unstructured citation ‘Drum Dance’ [Produced by John Bierhorst]. On Cry from the Earth: Music of the North American Indians, Disc 1, Track Number 12 [CD] (Smithsonian Folkways Recordings/Folkways Records FW37777/FA 37777, 1979). 34 01 Unstructured citation 122 34 01 Unstructured citation Peter Webster [Performer], ‘Medicine Man Song’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 1, Track Number 4 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 34 01 Unstructured citation 123 34 01 Unstructured citation ‘Huichol—Peyote Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 9 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 124 34 01 Unstructured citation ‘Yaqui—Deer Dance’ [Produced by Henrietta Yurchenco]. On Indian Music of Mexico, Track Number 8 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04413/FE 4413, 1952). 34 01 Unstructured citation 125 34 01 Unstructured citation ‘Wolf Dance’ [Liner notes and production by Ida Halpern]. On Nootka Indian Music of the Pacific North West Coast, Disc 2, Track Number 2 [CD] (Smithsonian Folkways Recordings/Folkways Records FW04524/FE 4524, 1974). 11 03 06 10.11647/obp.0403.09 193 208 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 9. An Ethnomusicology of Spiritual Realities 1 A01 21 0000000152001943 Jeffers Engelhardt Jeffers Engelhardt Professor of Music 40 028vqfs63 Amherst College 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jeffers Engelhardt 12 03 06 10.11647/obp.0403.10 209 232 24 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 10. The Concept of ‘Atmosphere’ as a Bridge between Music and Spirituality 1 A01 21 0000000325006348 Bernard Łukasz Sawicki Bernard Łukasz Sawicki Associate Professor in Theology 40 02pn9ep17 Pontificio Ateneo Sant'Anselmo 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). 01 eng 03 00 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.<break/>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. 30 00 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.<break/>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. 20 00 Open Access Bernard Łukasz Sawicki OSB 13 03 06 10.11647/obp.0403.11 233 254 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 11. Spiritual Subjects Musicking, Biography, and the Connections We Make 1 A01 21 0000000208081701 Maeve Louise Heaney Maeve Louise Heaney Associate Professor in the Faculty of Theology and Philosophy, and the Xavier Chair for Theological Formation 40 04cxm4j25 Australian Catholic University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Maeve Louise Heaney VDMF 14 03 06 10.11647/obp.0403.12 255 270 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 12. The Impetus to Compose Where is Fantasy Bred? 1 A01 21 0000000166852589 Richard E. McGregor Richard E. McGregor Professor Emeritus of Music 40 05gd22996 University of Cumbria 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Richard E. McGregor 15 03 06 10.11647/obp.0403.13 273 284 12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 13. Music in Christian Services as a Means to Induce Religious Feelings 1 A01 21 0000000236594731 Melanie Wald-Fuhrmann Melanie Wald-Fuhrmann Professor of Systematic Musicology 40 04cvxnb49 Goethe University Frankfurt 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Melanie Wald-Fuhrmann 16 03 06 10.11647/obp.0403.14 285 304 20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 14. Spiritual Cultures Innovations in Choral and Classical Music 1 A01 21 0009000474739753 Jonathan Arnold Jonathan Arnold 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Jonathan Arnold 17 03 06 10.11647/obp.0403.15 305 326 22 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 15. Listening to the Lived Experiences of Worshippers A Study of Post-Pandemic Mixed Ecology Worship 1 A01 21 0009000085950985 Elspeth Manders Elspeth Manders Doctoral Student 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Elspeth Manders 18 03 06 10.11647/obp.0403.16 327 354 28 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 16. An Abductive Study of Digital Worship through the Lenses of Netnography and Digital Ecclesiology 1 A01 21 0009000054666017 Tihomir Lazić Tihomir Lazić Senior Lecturer in Systematic Theology 40 0312t3r96 Newbold College of Higher Education 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Tihomir Lazić 19 03 06 10.11647/obp.0403.17 355 370 16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 17. Choral Singers and Spiritual Realities A Perspective from St Mary’s Catholic Cathedral 1 A01 21 000900004430088X Michael Ferguson Michael Ferguson Lecturer and Coordinator of Academic Music 40 02wn5qz54 University of St Andrews 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. 01 eng 03 00 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. 30 00 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. 20 00 Open Access Michael Ferguson 20 03 06 10.11647/obp.0403.18 371 388 18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 18. Music and Spirituality in Communal Song Methodists and Welsh Sporting Crowds 1 A01 21 0000000216212679 Martin V. Clarke Martin V. Clarke Senior Lecturer in Music 40 05mzfcs16 The Open University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access Martin V. Clarke 21 03 06 10.11647/obp.0403.19 389 398 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Afterword ‘A Psychologist’s Perspective’ 1 A01 21 0000000193754474 John Sloboda John Sloboda Emeritus Professor 40 00340yn33 Keele University 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). 01 eng 03 00 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. 30 00 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. 20 00 Open Access John Sloboda 01 URL https://www.openbookpublishers.com/ Open Book Publishers 01 Open Book Publishers 01 Publisher's website: home page https://www.openbookpublishers.com/ 02 Publisher's website: webpage for this title https://www.openbookpublishers.com/books/10.11647/OBP.0403 16 40 02wn5qz54 32 10.13039/501100000740 University of St Andrews 01 programname University of St Andrews’ Institutional Open Access Fund 16 40 02q53mk25 32 10.13039/501100013437 Templeton Religion Trust Cambridge, UK 04 01 20240628 George Corbett Sarah Moerman. Copyright of individual chapters are maintained by the chapter author(s). 02 WORLD 06 15 9781805113027 03 9781805113027 06 15 9781805113034 03 9781805113034 06 15 9781805113041 03 9781805113041 06 15 9781805113072 03 9781805113072 34 06 10.1086/421160 34 06 10.1371/journal.pone.0263384 34 01 Unstructured citation Adorno, Theodor W., ‘On the Fetish-Character in Music and the Regression of Listening’, in The Culture Industry: Selected Essays on Mass Culture, ed. by J. M. 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