Difference between revisions of "The aesthetic and the sacred"
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[http://links.jstor.org/sici?sici=0027-4631%28191501%291%3A1%3C102%3AMITCC%3E2.0.CO%3B2-O Music-Reform in the Catholic Church by Henry] | [http://links.jstor.org/sici?sici=0027-4631%28191501%291%3A1%3C102%3AMITCC%3E2.0.CO%3B2-O Music-Reform in the Catholic Church by Henry] | ||
| − | This reading touches on some of the themes that were brought up in the other readigns, such as distinctions between sacred and secular music and what is considered appropriate and ideal in a sacred context. The importance of focusing on God through the sacred text is prevalent and contrasts starkly with Sufi emotional expressivity, for example. It essentially outlines the ''do's and dont's'' for this religious group's sacred music, namely ''holiness'', ''beauty'', and ''universality''.--[[User:Gloria|Gloria]] 23:26, 12 February 2006 (MST) | + | This reading touches on some of the themes that were brought up in the other readigns, such as distinctions between sacred and secular music and what is considered appropriate and ideal in a sacred context. The importance of focusing on God through the sacred text is prevalent and contrasts starkly with Sufi emotional expressivity, for example. It essentially outlines the ''do's and dont's'' for this religious group's sacred music, namely idealizing ''holiness'', ''beauty'', and ''universality''.--[[User:Gloria|Gloria]] 23:26, 12 February 2006 (MST) |
Revision as of 01:11, 13 February 2006
Contents
Assigned readings
Please read the following.
Festivals of Dhrupad in Northern India
Intrinsic Aesthetics in Balinese Artistic and Spiritual Practice
Tarab in the Mysic Sufi Chant of Egypt (pass briefly over descriptive sections; focus on the role of tarab aesthetics in mystical practice)
This coming week we'll also continue our discussions of last week's readings, which are closely related, so please bring them along.
Listenings, viewings
Example of Balinese Barong/Rangda ritual possession music Gamelan Pelegongan - Sisyan, Danse Des Apprenties-Sorcieres Du Theatre Exorciste Calonarang
Example of dhrupad, as performed by the Dagar brothers. Fifteen generations of Dagars have sung India's dhrupad devotional music. Rag Kambhoji: Alap is followed by Rag Kambhoji: Dhrupad in praise of Krishna.
Excerpt from a performance by Shaykh Yasin al-Tuhami. Read notes for this example.
Listening: (delayed from last week)
- Examples of Temiar ritual music and soundscape
- Examples of pentecostal preaching style and music
We will watch some videos on Tuesday, including:
- Excerpts from Mystic Iran (delayed from last week)
plus:
- Footage of the Rangda/Barong ritual dance (Bali)
- Dhrupad performance
- Shaykh Yasin al-Tuhami
Discussion about this topic
Your selected readings
Music-Reform in the Catholic Church by Henry This reading touches on some of the themes that were brought up in the other readigns, such as distinctions between sacred and secular music and what is considered appropriate and ideal in a sacred context. The importance of focusing on God through the sacred text is prevalent and contrasts starkly with Sufi emotional expressivity, for example. It essentially outlines the do's and dont's for this religious group's sacred music, namely idealizing holiness, beauty, and universality.--Gloria 23:26, 12 February 2006 (MST)
