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Articles 1 - 7 of 7
Full-Text Articles in Musicology
Vatican Ii, Liberation Theology, And Vernacular Masses For The Family Of God In Central America, Bernard J. Gordillo
Vatican Ii, Liberation Theology, And Vernacular Masses For The Family Of God In Central America, Bernard J. Gordillo
Yale Journal of Music & Religion
The Second Vatican Council (1962–65) instituted reforms in the Catholic Church that included changes in language and music employed in the liturgy, inspiring a proliferation of sung vernacular masses throughout Latin America. Drawing on archival and ethnographic research undertaken in Nicaragua and the United States, this article examines three Central American vernacular masses—Misa típica panameña de San Miguelito (1967), Misa popular nicaragüense (1969), and Misa campesina nicaragüense (1975). Each mass emanated from communities founded as part of the transnational Familia de Dios (Family of God) movement, which established programs of religious education, leadership training, and community building among impoverished …
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, …
Early Modern Scottish Metrical Psalmody: Origins And Practice, Timothy Duguid
Early Modern Scottish Metrical Psalmody: Origins And Practice, Timothy Duguid
Yale Journal of Music & Religion
Non-literate societies are often dependent on music for transmitting news and ideas because of music’s ability to enhance memory. Sixteenth-century reformers were aware of this, but they had to compete with secular and Roman Catholic music that often contradicted Reformed doctrine. Highly influenced by the Strasbourg-based Martin Bucer and the writings of Saint Augustine, John Calvin insisted that Biblical Psalms, set in vernacular poetry, were most appropriate for both corporate worship and private devotion. The result was a series of metrical psalters that were intended to be performable by everyone. Some editions had explicitly liturgical designs, but most were intended …
Higher Ground: Rev. Dr. William Barber Ii And The Political Content Of Prophetic Form, Braxton D. Shelley
Higher Ground: Rev. Dr. William Barber Ii And The Political Content Of Prophetic Form, Braxton D. Shelley
Yale Journal of Music & Religion
This essay argues that Rev. Dr. William J. Barber’s message on “Higher Ground,” a speech delivered at a massive 2014 protest rally, reveals his intentional problematization of distinctions between the sacred and the secular. As Barber’s articulation of what Ashon Crawley calls “Blackpentecostal breath” spill over the boundaries posited by conventional categories—they are too ecstatic to be ordinary speeches, and too political to be traditional sermons—these plural expressions identify themselves as sounds that come from another world. If both content and form are understood as thought, it becomes apparent that these prophetic utterances critique the oppression wrought by contemporary social …
A Requiem For The Ussr: From Atheism To Secularity, Oksana Nesterenko
A Requiem For The Ussr: From Atheism To Secularity, Oksana Nesterenko
Yale Journal of Music & Religion
This article examines performance and reception of music of sacred tradition in the Soviet Union in the 1970s-80s, with the focus on two works composed in the genre of Catholic Requiem Mass, Alfred Schnittke’s Requiem (1975) and Vyacheslav Artyomov’s Requiem (1988). The article recounts the history of Soviet atheism that, as a result of state’s failure to eradicate religion, evolved into a form of secular modernity, and outlines the music culture in which Schnittke and Artyomov lived. The official reception of the two requiems, which changed dramatically within twelve years, illustrates the state’s changing attitude to religion from atheist, where …
“Beer & Hymns” And Community: Religious Identity And Participatory Sing-Alongs, Andrew Mall
“Beer & Hymns” And Community: Religious Identity And Participatory Sing-Alongs, Andrew Mall
Yale Journal of Music & Religion
As a series of loosely-organized events, “Beer & Hymns” started at the Greenbelt Festival in England in 2006 and migrated to the Wild Goose Festival in North Carolina in 2012. Local Beer & Hymns gatherings meet at bars, breweries, clubs, and pubs across the U.K., the U.S., and around the world. Most are not affiliated with a church or Christian denomination, instead relying on the energy of independent local organizers. Some attendees are regular churchgoers, other are not, but all find community in these sing-alongs—congregational singing, that is, outside of traditional congregational contexts. Beer & Hymns is exactly what it …
Assimilating To Art-Religion: Jewish Secularity And Edgar Zilsel’S Geniereligion (1918), Abigail Fine
Assimilating To Art-Religion: Jewish Secularity And Edgar Zilsel’S Geniereligion (1918), Abigail Fine
Yale Journal of Music & Religion
In 1918, Edgar Zilsel—a Marxist-Jewish philosopher who was soon to be exiled from Vienna—published a sociological study that later readers have found prescient of fascism. In Die Geniereligion (“The Religion of Genius”), Zilsel cautioned against the hidden dangers of elevating secular figures to the status of deities. As early as 1912, Zilsel was disturbed by how art-religion shaped music culture: his earliest published essay ruminated on timelessness and canonicity, on striving for heavenly tones while cast down to the earthly squalor of the concert hall. Indeed, in Zilsel’s Vienna, art-religion had come to dominate the music world—biographers made Beethoven a …