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Articles 1 - 5 of 5
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Sankyoku Magazine And The Invention Of The Shakuhachi As Religious Instrument In Early 20th-Century Japan, Matt Gillan
Sankyoku Magazine And The Invention Of The Shakuhachi As Religious Instrument In Early 20th-Century Japan, Matt Gillan
Yale Journal of Music & Religion
The early 20th century was a period in which understandings of music, religion, and the nation-state underwent rapid change in Japan. In this article I examine Japanese cultural discourse from the first decades of the 20th century in which the shakuhachi, a Japanese bamboo flute, was frequently portrayed as a religious instrument. In some cases, this discourse referenced pre-20th century historical affiliations of the shakuhachi with the Fuke-sect, an organization that was loosely affiliated to Rinzai Zen Buddhism. But the article also explores how religio-musical discourse surrounding the shakuhachi intersected with developments in modern Japanese religious life, …
Singing And Sensing The Unknown: An Embodied History Of Hindu Practice In Ghana, Shobana Shankar
Singing And Sensing The Unknown: An Embodied History Of Hindu Practice In Ghana, Shobana Shankar
Yale Journal of Music & Religion
Hinduism fits well into the “sound-filled” West African religious soundscape, which is a scene of competition and conflict. This article explores the soundscape of devotional singing, mantras, and prayers as a central part of the embodiment and embedment of Hinduism among Africans in Ghana, where the Indian diaspora has been relatively small and the indigenous movement of Hinduism entirely through African initiative. Using ethnographic and written sources to examine the Hindu Monastery of Africa, founded by the Ghanaian monk Swami Ghanananda in 1975, I examine how the oral and aural popular devotions crafted by the swami have shifted attention away …
Examining Buddhism In Unitarian Universalist Hymnals, 1894-2015, Jeff Wilson
Examining Buddhism In Unitarian Universalist Hymnals, 1894-2015, Jeff Wilson
Yale Journal of Music & Religion
Religious pluralism is a central value of contemporary Unitarian Universalism. This is enshrined in the current hymnal, Singing the Living Tradition, which among its many sources includes several selections from Buddhist material. This article considers the use of Buddhist material in Unitarian hymnals from the late 19th century to the present day. A slow growth in the amount and diversity of such material can be discerned. However, the sources used are quite limited, and the selections have the effect of creating a new Unitarian “Buddhism” rather than accurately representing Buddhism as it is. The reality of pluralism may …
Religious Processions In Indonesia: Cultural Identity And Politics On Bali And Lombok, David Harnish
Religious Processions In Indonesia: Cultural Identity And Politics On Bali And Lombok, David Harnish
Yale Journal of Music & Religion
In Bali and Lombok in Indonesia, processions—like similar events in many other parts of the world—are ritualized events breaking the normal flow of time. They are always temporally marked, and can be characterized as either religious and temple- or mosque-sponsored, or secular and state-sponsored. This article discusses religious processions generally on the neighbor islands of Bali and Lombok, and focuses on the processions of the spectacular Lingsar temple festival on Lombok. The festival conjoins the migrant Hindu Balinese and the local Muslim Sasak (the majority ethnic group) in ritual participation, but that participation differs in significant ways that are represented …
Whitefield's Music: Moorfields Tabernacle, The Divine Musical Miscellany (1754), And The Fashioning Of Early Evangelical Sacred Song, Stephen A. Marini
Whitefield's Music: Moorfields Tabernacle, The Divine Musical Miscellany (1754), And The Fashioning Of Early Evangelical Sacred Song, Stephen A. Marini
Yale Journal of Music & Religion
Evangelical hymnody was the most significant form of popular sacred song in eighteenth-century Anglo-America. John and Charles Wesley built their Methodist movement on it, but little is known about the music of their great collaborator and eventual rival, George Whitefield (1714-1770). The essential sources of Whitefield's music are the development of ritual song at his Moorfields Tabernacle in London, his Collection of Hymns for Social Worship (1753) prepared for that congregation, and a little-known tunebook called The Divine Musical Miscellany (1754) that contains the first and definitive repertory of music known to be sung at Moorfields. This essay recovers Whitefield's …