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For students and scholars in American music and religious studies, as well as for church musicians, this book is the first to study the ways in which music shapes the distinctive presence of religion in the United States. The sixteen essayists' contributions to this book address the fullness of music's presence in American religion and religious history.
Stowe traces the evolution of sacred music from colonial times to the present, from the Puritans to Sun Ra, and shows how these cultural encounters have produced a rich harvest of song and faith.
How music makes worship and how worship makes music in Evangelical churches Music is a nearly universal feature of congregational worship in American churches. Congregational singing is so ingrained in the experience of being at church that it is often misunderstood to be synonymous with worship. For those who assume responsibility for making music for congregational use, the relationship between music and worship is both promising and perilous – promise in the power of musical style and collective singing to facilitate worship, peril in the possibility that the experience of the music might eclipse the worship it was written to facilitate. As a result, those committed to making music for worship are constantly reminded of the paradox that they are writing songs for people who wish to express themselves, as directly as possible, to God. This book shines a new light on how people who make music for worship also make worship from music. Based on interviews with more than 75 songwriters, worship leaders, and music industry executives, Shout to the Lord maps the social dimensions of sacred practice, illuminating how the producers of worship music understand the role of songs as both vehicles for, and practices of, faith and identity. This book accounts for the human qualities of religious experience and the practice of worship, and it makes a compelling case for how – sometimes – faith comes by hearing.
Enslaved Africans brought their music and religion with them to America. They adapted their spiritual worldview into the existing Christian framework for survival. The God of the oppressor was transformed into the God of liberation and justice. Salvation became the conduit for survival. Sacred song was embedded with African spirituality and African American theology to create a religious experience from the seventeenth century to the twentieth century that sustained African American people and became established forms of praise and worship. The Civil Rights movement changed the religious reality of African American people. Sacred song in the twenty- first century has many challenges. Will the legacy and heritage of sacred song survive?
How is religious experience to be identified, described, analyzed and explained? Is it independent of concepts, beliefs, and practices? How can we account for its authority? Under what conditions might a person identify his or her experience as religious? Wayne Proudfoot shows that concepts, beliefs, and linguistic practices are presupposed by the rules governing this identification of an experience as religious. Some of these characteristics can be understood by attending to the conditions of experience, among which are beliefs about how experience is to be explained.
Christian Congregational Music explores the role of congregational music in Christian religious experience, examining how musicians and worshippers perform, identify with and experience belief through musical praxis. Contributors from a broad range of fields, including music studies, theology, literature, and cultural anthropology, present interdisciplinary perspectives on a variety of congregational musical styles - from African American gospel music, to evangelical praise and worship music, to Mennonite hymnody - within contemporary Europe and North America. In addressing the themes of performance, identity and experience, the volume explores several topics of interest to a broader humanities and social sciences readership, including the influence of globalization and mass mediation on congregational music style and performance; the use of congregational music to shape multifaceted identities; the role of mass mediated congregational music in shaping transnational communities; and the function of music in embodying and imparting religious belief and knowledge. In demonstrating the complex relationship between ’traditional’ and ’contemporary’ sounds and local and global identifications within the practice of congregational music, the plurality of approaches represented in this book, as well as the range of musical repertoires explored, aims to serve as a model for future congregational music scholarship.
How music makes worship and how worship makes music in Evangelical churches Music is a nearly universal feature of congregational worship in American churches. Congregational singing is so ingrained in the experience of being at church that it is often misunderstood to be synonymous with worship. For those who assume responsibility for making music for congregational use, the relationship between music and worship is both promising and perilous – promise in the power of musical style and collective singing to facilitate worship, peril in the possibility that the experience of the music might eclipse the worship it was written to facilitate. As a result, those committed to making music for worship are constantly reminded of the paradox that they are writing songs for people who wish to express themselves, as directly as possible, to God. This book shines a new light on how people who make music for worship also make worship from music. Based on interviews with more than 75 songwriters, worship leaders, and music industry executives, Shout to the Lord maps the social dimensions of sacred practice, illuminating how the producers of worship music understand the role of songs as both vehicles for, and practices of, faith and identity. This book accounts for the human qualities of religious experience and the practice of worship, and it makes a compelling case for how – sometimes – faith comes by hearing.
In Esotericism in African American Religious Experience: “There is a Mystery” ..., Stephen C. Finley, Margarita Simon Guillory, and Hugh R. Page, Jr. assemble twenty groundbreaking essays that provide a rationale and parameters for Africana Esoteric Studies (AES): a new trans-disciplinary enterprise focused on the investigation of esoteric lore and practices in Africa and the African Diaspora. The goals of this new field — while akin to those of Religious Studies, Africana Studies, and Western Esoteric Studies — are focused on the impulses that give rise to Africana Esoteric Traditions (AETs) and the ways in which they can be understood as loci where issues such as race, ethnicity, and identity are engaged; and in which identity, embodiment, resistance, and meaning are negotiated.
Sylvan examines the religious dimensions of popular music subcultures, charting the influence and religious aspects of popular music in mainstream culture today.
African Americans encountered many challenges throughout history facing slavery, Reconstruction, Jim Crow, and other forms of racism. Many relied on religion as their source of strength and endurance. The African American religious experience is a story of survival that demonstrates how religion became the key ingredient that allowed a race to adapt and survive the harshest systems of injustice and prejudice in America. Religion became the greatest universal and dynamic tool of survival adopted by enslaved individuals and the utmost weapon known to the black race. African American religious practices, a blend of African and European traditions, are distinctively unique because of worship styles and contemplative practices; all reflective of the vital role religion played in the lives of blacks during slavery and beyond.