Soundscapes of Religion

Dear Colleagues,

The importance of the role of senses cannot be overemphasized when looking at religious experiences or trying to make sense of religion. Religion is performed through sensorial engagements, and musical engagement is probably one of the most essential participatory rituals of religions. However, as psychologists speak not only of senses but also of emotions and affects in general, what lies between the senses, spiritual knowledge, and musical practices of religious communities? We argue that religious musical practice can become an important point of connection, enabling individuals to locate themselves in the social and cultural space and reflect on social experiences. Do religious communities, depending on the mentality of the nation or society, follow any special musical habits? If a particular musical habitus can be identified in terms of Pierre Bourdieu’s theory (1972), how do church authorities respond to it? We also ask what the role of this habitus is when a religious community represents the majority (called the structure by sociologists) and, vice versa, the minority (called the agency) of society (Giddens 1984). Is a religious habitus so strong that it can influence the characteristics of music and sound, or is music so powerful that it creates a habitus? With the material turn in the study of religions, there is growing attention to material and embodied practices, sensational forms, and the mediation of religion (Morgan 2010, Meyer 2009). While more and more scholars engage with the ‘lived religion’ approach and elevate attention to lived practices, sound is rarely privileged as a means of interrogation or methodological practice in the study of religion (Muir 2019). Surprisingly, there is still a lack of research with a specific focus on musical practices, and ‘music in religion’ remains a peripheral approach in religious studies. Music and extramusical sound receive scant attention despite the significance of sound and hearing in our lives (Hackett 2012). Sounds can be generated acoustically, electro-acoustically, or electronically and, in conjunction with vocal or instrumental techniques, shape a soundscape. Sound creation is, therefore, related to music genres. It seems that pieces composed acoustically and electro-acoustically are the most suitable for religious music. Nevertheless, a religious soundscape with its positive and salubrious effect on the human body cannot be reduced solely to sound itself; without confessional, aesthetic, and psychological meanings, a soundscape would lose its main function—a holistic religious and musical experience. The theme of this Special Issue centres around the process initiated first with a musical performance through to forming a habitus.

This Special Issue aims to address the ’disciplinary deafness’ (Weiner 2009) in the study of religions.  We invite contributions that favour music in their methodological approach and that raise awareness of religious musicking as a way to explore religious life worlds and emphasize the role of sound in methodological epistemologies (Muir 2019). The Special Issue is open to a diversity of musical interactions with religion in different faith contexts. Therefore, we invite papers that address various aspects of the sonic dimensions of religion, such as music as religious sensation, music as a meaning-making process, music as transcendental communication, or music as embodied states of freedom. Contributions giving attention to the interactions between senses, emotions, spirituality, musical and religious experiences, and habitus will be of a particular interest. Futhermore, authors should focus on the question as to what music genres or styles evoke a specific type of religious musical habitus, and whether there are at all any direct connections between them.

In this Special Issue, original research articles are welcome. Research areas may include the following:

• Music and religions
• Music and spirituality
• Epistemology of spiritual music
• Music and transcendental communication
• Spiritual music as state of freedom
• Religious communities and senses recognition
• Genres, styles of spiritual music
• Musical aspects of religious music
• Music, religions and psychology
• Music, religions and sociology
• Religous communities and musical habitus
• Society and music of religious communities

We look forward to receiving your contributions.

Prof. Dr. Yvetta Kajanová
Dr. Kinga Povedák
Guest Editors

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• music sound
• soundscape
• transcendental communication
• musical experience
• religious experience
• religious music
• spiritual music
• ritual music
• church music
• liturgical music