Search Results (3)

Music has played a central role in Indian religious experience for millennia. The origins of Indian music include the recitation of the sacred syllable OM and Sanskrit Mantras in ancient Vedic fire sacrifices. The notion of Sound Absolute, first in the Upanishads as Śabda-Brahman and later as Nāda-Brahman, formed the theological background for music, Sangīta, designed as a vehicle of liberation founded upon the worship of Hindu deities expressed in rāgas, or specific melodic formulas. Nearly all genres of music in India, classical or devotional, share this theoretical and practical understanding, extending to other Indic religions like Buddhism, Jainism, and Sikhism. What is less documented is how rāga music has been adopted by non-Indic communities in South Asia: Judaism (Bene Israel), Christianity (Catholic), and Islam (Chishti Sufi). After briefly outlining the relation between religion and the arts, the Indian aesthetics of Rasa, and the basic notions of sacred sound and music in Hinduism, this essay reveals the presence of rāga music, specifically the structure or melodic pattern of the morning rāga known as Bhairava, in compositions praising the divinity of each non-Indic tradition: Adonai, Jesus, and Allah. As similar tone patterns appear in the religious experiences of these communities, they reveal the phenomenon of “shared religious soundscapes” relevant to the comparative study of religion and music, or Musicology of Religion. Full article

Sound and silence in nature intensify our perception of the non-anthropogenic world, of that which seems unaffected by humans and has been considered transcendent, eternal, and sacred. This is especially true in mountain settings. Mountain wilderness manifests a reality beyond anthropocentrism, and this reality becomes perceivable, in part, through sound. When described in the language of soundscape ecology, mountain soundscapes can be characterized by a lack or reduction of anthrophonic sounds and the presence or increase of geophonic and biophonic sounds. When described in the language of philosophy and religion, these soundscapes have been said to offer an ideal space beyond impermanence and rational explanation and contain that which is unchanging and inexplicable. The search for personal contact with that which is unchanging and inexplicable, and the attendant belief that these qualities reveal a higher form of reality, is a search for the sacred, and mountain soundscapes have played a significant but as yet unexamined role in this search. Across different religions and secular practices, in different cultures and historical periods, mountain soundscapes have acted as catalysts for sacred experience. This article uses the combined perspectives of philosophy, religion, and soundscape ecology to map some of the physical and intellectual terrain in which such experience has taken place. Full article

Religious practice in Serbia has taken place using both indoors and outdoors sacred sites ever since the adoption of Christianity in medieval times. However, previous archaeoacoustic research was focused on historic church acoustics, excluding the open-air soundscapes of sacred sites. The goal of this review paper is to shed light on the varieties of sacred soundscapes that have supported the various needs of Orthodox Christian practice in medieval Serbia. First, in relation to the acoustic requirements of the religious service, we compare the acoustic properties of masonry and wooden churches based on the published archaeoacoustic studies of medieval churches and musicological studies of the medieval art of chanting. Second, we provide an overview of the ethnological and historical studies that address the outdoor sacred soundscapes and investigate the religious sound markers of large percussion instruments, such as bells and semantra, the open-air litany procession that has been practiced during the annual celebration of a patron saint’s day in rural areas, and the medieval assemblies that took place on the sacred sites. This paper finally points out that the archaeoacoustic studies of sacred soundscapes should not be limited to church acoustics but also include open-air sacred sites to provide a complete analysis of the aural environment of religious practice and thus contribute to understanding the acoustic intention of medieval builders, as well as the aural experience of both clergy and laity. Full article