Search Results (10)

Musicking-as-play is an ontological conceptualisation that equips us to look at music-making practices in new ways in order to reveal future potentials for music education. This article discusses a theory-testing case study which applies the ‘musicking-as-play’ lens to what is, from the outside, often viewed as the least creative and most restrictive professional music-making context: the highly repetitive environment of the musical theatre band. If ‘musicking-as-play’ is present there, the thinking goes, then the conception is sufficiently robust to be applied more generally and to influence how music performance is taught. Following detailed observations of their working practices, five band members of a long-running West End musical in London and an experienced musical director were interviewed about their professional experiences. Many of these musicians had performed the show well over 1000 times, up to eight times a week for many years. Questions were based on a theoretical framework which sets play in relief alongside ritual, work and communitas. Findings confirm that the musicians perceived their work as a form of play, and a number of context-specific characteristics of play are identified. Implications for conservatoire pedagogies are discussed. Full article

In 1996, Helen Lee dubbed the departure of second-generation Asian Americans from the non-English-speaking immigrant churches that they were raised in as the “silent exodus”. This nationwide phenomenon was taking place largely because first-generation churches failed to provide the second generation with culturally relevant care that would enrich their ethnic, national, and spiritual identities. Glory, the church of focus in this study, was founded by and is home to many silent exiles. In hopes of being an enriching church for second-generation Asian Americans, pastoral staff and leaders have created spaces within Glory for racial identity and faith to be in conversation with one another. However, in regard to the music of the church, they were stumped on what could be done to make it uniquely and proudly Asian American. This conundrum inspired a key question in this study: What is distinct about the way that Asian Americans worship God through music? This study argues that the worship music at Glory Church is distinctly Asian American not by what is sonically perceived, but rather by what is physically performed and collectively experienced. The Korean-English, or Konglish, term nunchi bwa-ing (눈치 봐-ing) is utilized as a keyword to describes Christian musicking in a multilingual setting and foregrounds the Korean/Asian American worshiping body. This study concludes by looking forward and arguing that Asian Americans ought to amplify their worship music to the larger Contemporary Worship Music scene as it has the potential to be a powerful site of intergenerational healing. Full article

Drumming and chanting are core practices in modern magical-religious Witchcraft in the absence of unifying texts or standardized rituals. Song and musicality contribute towards self-creation and community making. However, Nature Religions and alternate spiritualities are seldom included in surveys of religious musicking or soundscapes. This article considers musicality in earlier publications on modern Witchcraft, as well as the author’s fieldwork with magical-religious Witches in the UK, to show the valuable contribution they make to discussions on religious belonging and the sensorium through song, music, percussion, and soundscapes. Full article

Music often facilitates the experience of communitas within disparate groups of people. As the American mainline Protestant church faces schism and struggles for relevance in a post-modern era defined by mistrust in the institutional church and social subjectivism, reexamining how singing together can break down barriers within ecclesial structures and create shared understanding is merited. As demonstrated through the music of pilgrimage, community musicking allows individuals to define the sacred together. Music then becomes an educational resource for the reformation of the church. The Iona and Taizé communities offer insights into this process. Their publishing efforts and worship styles, influenced and crafted by the populations who visit their locations, have provided resources for this dialogue in localized contexts. However, the experience of communitas is individualized—no one person, group, or organization can define this outcome. Consequently, no single musical or liturgical approach will be appropriate in all contexts; the church’s music must adapt so that each selection is imbued with meaning for that community. Facilitating such a process in the local congregation may threaten the status quo while also becoming a tool for revitalization in the post-modern era. Full article

Secularisation theory proposed that the modernisation of society would bring about a decline in religiosity across the West, leading to ‘entzauberung’ (disenchantment). Eventually, society would be devoid of belief in the transcendent. Some theorists have challenged this by suggesting (with some qualifying factors) that enchantment better describes the secular age we occupy. Charles Taylor suggests that we can perceive the enchantment of a secular age through the human relationship with art. In this article, I suggest that, when present in popular music, black gospel music (in particular) complicates notions of the sacred-secular binary. The sacred-secular distinction was not familiar to West Africans arriving in the New World during the transatlantic slave trade. Music had played a central role in the lives of pre-diaspora Africans, with no differentiation between sacred and secular musicking. Despite some of the historical opposition to secular music in many black-majority churches, gospel music owes its heritage to this West African worldview. In this article, I propose a four-quadrant model that troubles the accepted binaries of sacred and secular. I use the Kingdom Choir’s 2018 performance of ‘Stand by Me’ at the Royal Wedding of the Duke and Duchess of Sussex as a basis for discussing alternative ways of viewing holy-profane, sacred-secular dichotomies. Full article

This article discusses the twofold role of music as a means to manifest border-induced (cultural) difference and simultaneously foster alternative modes of belonging. The author draws on her ethnographic research, consisting of participant observation, desktop research, and interviews, and reflects on her auto-ethnographic recordings of engaging with refugee musicians. The discussion unfolds around vignettes that exemplify moments of musical encounters among refugees and between refugees and people from the host society. The vignettes are narrated from the refugee interlocutors’ point of view, who are engaged in the musicking instances as listeners and musicians. The article discusses how they devise music to cope with their estrangement from home and to articulate narratives of belonging. It illuminates how refugees challenge stereotyped representations of themselves, reinforcing the terms under which they can become “visible” and “audible.” Finally, the article argues that refugees’ narratives suggest understandings of reality as a continuum in ways that challenge the linear reifications produced by nation-state bordering practices and displacement-induced ruptures These understandings are embedded in music’s mobilities and their intersections with human movement, informal networks, and the cultural industry. Full article

The flourishing society envisioned by the South African government’s National Development Plan 2030 is based on nation-building and social cohesion. With the recent civil unrests, calls for healing a nation characterised by poverty, inequality and violence through social cohesion have again been made. Community music engagement is uniquely positioned to achieve social cohesion since the discipline engages disparities of power and privilege whilst aiming to cultivate an environment of unconditional welcoming. The purpose of this theoretical framework is to explain how community music engagement can facilitate social cohesion through community music engagement. Community music engagement promotes spiritual experiences since it fosters relationships. This relational theoretical framework will be derived from a thematic analysis of the 21 chapters in the book Ritualised Belonging: Musicing and Spirituality in the South African Context and related theories. Our findings indicate that joyful musicking rituals serve as the catalyst for hope. Hope, in turn, motivates people to engage in community musicking, which requires a bodily co-presence, fosters mutual focus of attention and promotes cooperation and trust. Musickers who share values, challenges, culture, and identity experience a joyful sense of belonging. Furthermore, joy is key to spirituality since it is self-expansive, self-transcendent and other-embracing and transcends different religions. Joy moves musickers to build bonding and bridging social capital. Social capital improves individuals’ and communities’ quality of life and ultimately promotes social cohesion. Full article

What happens to a worship song as it crosses geographical, cultural, and theological borders? How does this reallocation modify the role a song performs—and is performed—in context? This essay examines how religious songs that flow along transnational networks are transformed in the process of localization. It focuses particularly on how translation, conceived of broadly to encompass verbal and non-verbal aspects, happens within these processes. I argue that, while lyric translation remains a core component of these phenomena, it is but one of the multiple processes of localization that occur when a song travels. Throughout such processes, theology is (re)interpreted and songs are performed differently even as local congregations perceive their engagement with these repertoires as a type of connection to broader worshiping networks. Towards this end, it follows “Mighty to Save”, an Australian worship song, on its transnational path to re-localization within the context of Brazilian gospel. Analyses of the lyrical and musical translations and transformations the song is subjected to can shed further light upon the complex dynamic of transnational flows of religious repertoires in today’s interconnected world. Full article

Transmedia storytelling has been integrated into contemporary society through social media, where influencers have enabled the building of worlds. Within this environment of human-interaction, fiction and converging social realities have become an essential tool to tell stories. On YouTube, storytelling has expanded to music, where cover videos take on great relevance. The aim of this study is to understand the transmedia music phenomenon due to the impact of music on the platform. To this end, we applied a methodology that stemmed from Grounded Theory principles in the analysis of 300 Disney animation song covers in three stages: (1) deductive and inductive codebook development; (2) social network analysis; and (3) statistical test. The results showed that youtubers highlight specific audiovisual codes from the film and cultural industries. Furthermore, we observed these productions often display configurations that expand the original story through performance, location, costumes, make-up, among others. We argue that, on the digital sphere, a sustainable transmedia music paradigm is developing, where performers construct more meaningful and valuable stories. Full article

In recent years, authorities in mainland China have renewed their call for the sinicization of Christianity through theological discourse. Given that Christianity is largely expressed in visible, worship-based ways, such as music (songs), rhetoric (sermons), rituals (sacraments), symbols (crosses, garments, banners, etc.), posture and gesture (genuflecting, lifting hands, etc.), one wonders at the implication of this development. Might there be an alternative approach to sinicization? This essay seeks to investigate the feasibility of sinicized Christianity from the ontology of musicking as purveyed through the practice of congregational song. Full article