Songs to the Jinas and of the Gurus: historical comparisons between Jain and Sikh devotional music

ABSTRACT

Jain worship has always been accompanied by music and likewise for Sikhs the performance of and listening to the singing of hymns, as composed by several of their Gurus, continuously has been central to the community’s spiritual experience. For different reasons, however, Sikh and Jain devotional music, known as kirtan and bhakti respectively, until recently were neglected subjects in historiography. This article investigates the parallels and differences among the two genres from a historical comparative perspective against the successive backgrounds of the bhakti movement and Indic culture, the imperial encounter and globalization. In doing so, it particularly emphasizes the importance of identity politics to the making of modern Sikh and Jain devotional music, as well as the fact that, in comparison to Jain bhakti, Sikh kirtan generally remains North Indian ‘Hindustani’ art music, rather than regional folk music.     

Differential associations of leisure music engagement with resilience: A network analysis

Background/ObjectiveSeveral factors associated with resilience as the maintenance of mental health despite stress exposure can be strengthened through participation in leisure time activities. Since many people listen to or make music in their leisure time, the aim of the present study was to provide insights into the architecture of how resilience relates to passive and active music engagement.Method511 participants regularly listening to and/or making music completed an online survey on resilient outcomes (i.e., mental health and stressor recovery ability), different resilience factors (e.g., optimism, social support), quantitative music engagement (i.e., time spent with music listening/making) and qualitative music engagement (i.e., use of music listening/making for mood regulation).ResultsBivariate correlations showed that subjects spending more time with music making reported better stressor recovery ability and less mental health problems, while partial correlational network analysis revealed no unique associations for quantitative music engagement. Regarding qualitative music engagement, people using music-based mood regulation reported lower mental health, mindfulness, and optimism, but also higher social support. A more heterogeneous pattern emerged for single music-based mood regulation strategies.ConclusionsOur findings highlight the importance of the individual (mal-)adaptive use of music, painting a more nuanced picture of music engagement and resilience.     

In the Anteroom of Divinity: The Reformation of the Angels from Colet to Milton

Abstract

Erasmus censures the musical practice of the medieval Church from ethical and rhetorical perspectives on music, and highlights decorum in delivery at the liturgical performance. His criticism of instrumental music echoes the patristic views of music, which are essentially logocentric and opposed to the use of musical instruments within the Church. The Erasmian ideal of church musicians lies in the classical model of the sacred-musical orator, with great emphasis on musicians’ moral status and intellectual ability. In relation to music (especially the Psalms) in the context of Christian worship, Erasmus regards music as a ‘spiritual sacrifice’ in which leading godly lives is combined with singing hymns and praises.     

Life and Death of Music as Education: A Philosophical Overview

Abstract

This essay contemplates the role of music as education (as opposed to music education) in the Western World since Ancient Greek philosophical inquiry and throughout early Christianity, the Middle Ages, and Modernism. It regards music as a potential tool for instruction and knowledge exchange. In particular, this essay examines post-Enlightenment philosophical trends that reshaped Western understandings of music. Finally, this paper explores music education within the Seventh-day Adventist educational system as influenced by both nineteenth-century thought as well as informed by the reformative attempts that followed in the twentieth century.     

They’re (not) playing our song: (Ir)religious identity moderates the effects of listening to religious music on memory,self-esteem,and mood

Previous research suggests that listening to music can enhance memory and well-being. However, what is often missing from this analysis is consideration of the social dimensions of music—for example, its capacity to affirm or threaten listeners’ social identities. This study examined whether (ir)religious music that was potentially identity-affirming or identity-threatening (Christian hymns, Buddhist chants, classical, or no music) would affect Christians’ and Atheists’ (N = 267) well-being and memory performance while listening. Analyses revealed significant interactions between (ir)religious group and music type on memory, self-esteem, and mood. Listening to music that potentially threatened one's religious identity appeared to undermine both performance self-esteem and actual memory performance, while increasing feelings of hostility. This pattern was found for Christians (vs. Atheists) who listened to Buddhist chants. Conversely, Atheists’ performance self-esteem (and to some degree their memory performance) was lowest, and their hostility highest, when they listened to Christian hymns. In this way, listening to music that potentially threatened one's religious group identity (or lack thereof) appeared to be detrimental for memory, self-esteem, and mood. These results bridge research on the psychology of religion, music psychology, and social identity theorizing by demonstrating that the effects of music on memory and well-being may reflect important (even sacred) social identities, with potential implications for individual well-being and intergroup relations.     

On the role of lyrics in the music–exercise performance relationship

ObjectivesTo examine the role of lyrics on a range of psychological, psychophysical, and physiological variables during submaximal cycling ergometry.DesignWithin-subject counterbalanced design.MethodTwenty-five participants performed three 6-min cycling trials at a power output corresponding to 75% of their maximum heart rate under conditions of music with lyrics, same music without lyrics, and a no-music control. Cycling cadence, heart rate, and perceived exertion were recorded at 2-min intervals during each trial. Positive and negative affect was assessed before and after each trial.ResultsParticipants cycled at a higher cadence towards the end of the cycling trials under music with lyrics. Main effects were found for perceived exertion and heart rate, both of which increased from min 2 through to min 6, and for affect: positive affect increased and negative affect decreased from pre- to post-trials.ConclusionsParticipants pedalled faster in both music conditions (with and without lyrics) while perceived exertion and heart rate did not differ. The inclusion of lyrics influenced cycling cadence only at min 6 and had no effect on the remaining dependent variables throughout the duration of the cycling trials. The impact of lyrical content in the music–exercise performance relationship warrants further attention in order for us to better understand its role.     

Shared identity content between leader and follower influences intentional mobilization and challenge and threat states

ObjectivesResearchers have examined how leaders' representation of shared identity content allows them to mobilize group members towards success in competitive tasks. However, research is yet to determine the psychological and physiological implications of shared identity content with a leader when approaching competitive tasks. The present research addresses this gap within a two-phase experimental study, examining the effect of shared identity content on follower intentional mobilization, self-efficacy, perceived control, approach and avoidance goals, cardiovascular challenge and threat and motor performance within a competitive task.DesignA 2 × 2 between-participants two-phase experimental design, with two shared and two non-shared conditions.MethodWithin phase one, 220 sport and exercise undergraduate students imagined themselves in one of four scenarios and responded to measures of mobilization (e.g., willingness to invest time on a task). Then, a pre-screening questionnaire was used to evidence the students' authentic identity content when competing in sport, which informed condition within phase two. Of those who consented to phase two, a laboratory experiment with 120 undergraduate sport and exercise students was used. Within this experiment, the sharedness of identity content between leader and follower was manipulated through the students' authentic pre-screening questionnaire responses. Within phase two, competition related self-efficacy, perceived control, approach and avoidance goals, cardiovascular challenge and threat and motor performance was assessed.ResultsPhase one results indicated that when identity content is shared (vs. non-shared) between leader and follower, group members' willingness to invest time on a task is increased within a hypothetical scenario. In phase two, it was evidenced that when identity content is shared (vs. non-shared) between leader and follower, followers reported greater intentional mobilization, self-efficacy and perceived control when approaching a competitive task. Shared identity content with a leader did not predict cardiovascular challenge states nor greater motor performance (relative to non-shared identity content).ConclusionThe present research provides evidence that a leaders' capacity to mobilize effort of group members and enhance psychological appraisal of competitive events is dependent on their ability to build shared identity content.     

Art beyond Morality and Metaphysics: Late Joseon Korean Aesthetics

In the history of Chinese philosophy, Mozi calls music a “waste of resources,” considering it an aristocratic extravagance that does not benefit the everyday people. In its defense, Confucians highlight music's moral and metaphysical qualities, arguing that music aids in moral cultivation and that music's form mimics the structure of reality. The aim of this article is to show that Korean philosophers provide yet another reason to think music is important. Music, and art in general, was used to express a national identity at a time Korean philosophers were beginning to develop their own aesthetic consciousness in the seventeenth and eighteenth centuries. A cultural movement called Joseonpoong (???), “Joseon wind,” marked a shift away from Sinocentrism and toward Korea's own unique values and practices. The new attempt to justify art's value apart from its relationship to morality or metaphysics set Joseon thinkers apart from their Chinese predecessors. Using art for identity expression allowed the Koreans to reconceive art's value while Sinocentric cosmological and cultural views were being challenged with the introduction of Western knowledge. Art also became a tool for reversing hermeneutic injustice as new artistic practices and standards allowed the Koreans to meaningfully engage with previously neglected aspects of their lived lives.     

Play it again,Sam: On Liking Music

Abstract

Emotional responses to music are discussed in the context of a constructivist theory of emotion, which postulates evaluative cognitions that generate the quality of the experience, and autonomic (sympathetic) arousal that influences its intensity. Arousal is frequently generated by cognitive, pcrceptual, and behavioural discrepancies. Schema theory is used to describe the listener's knowledge of the complex structure of music. Schemas serve to interpret music as well as to produce expectations about its likely form and progression. When music is discrepant from the listener's expectations (as it often is), the concatenation of arousal and evaluation produces emotional experiences. This theoretical framework guides an interpretation of emotional responses to familiar and (physically) complex music, and suggests ways of understanding structural evaluations as well as effects of music that have their source outside of musical structure.     

Insiders,regulars and tourists: exploring selves and music consumption in adolescence

• Adolescents, with respect to consumption and the symbolic self, are in a crucial period of identity formation. Music is significant in this respect as it has been described as a catalyst for individuals seeking to construct the ‘self’ and can play a central role in forming an identity. This paper seeks to explore the ways in which adolescent music use and consumption facilitates a greater understanding of identity formation and psychological or peer group practices. Twenty four in‐depth interviews were conducted with 12 adolescents over a 6–12 month period. All adolescents were interviewed twice with a view to observing changes in music consumption practices. The author adopts the terms of insiders, regulars and tourists to illustrate the different characteristics of adolescent music consumers in the context of their varying levels of investment and commitment. Initial findings demonstrate that music is used to build social capital, to create boundaries and to enhance social inclusion and exclusion.

Copyright © 2009 John Wiley & Sons, Ltd.     

The sound link: Psychodynamic group music therapy in a therapeutic community setting

SUMMARY

This paper explores the efficacy of on-going weekly psychodynamic group music therapy with those with chronic mental illness in a therapeutic-community setting. Co-improvised music-making was the primary medium of communication and connection in the group, combined with a period for verbal reflection. Central to the therapist's thesis is that the shared music medium primarily acts as a way of expressing, organising and containing the experience of individual members and of the group. It allows for contact between members at a pre-verbal, preconscious level. For this particular patient group, contacts made at this level can be critical to their further ability to tolerate and integrate feelings in a more verbal and conscious way. The music-therapy setting is seen as aiding the process of linking together these two areas of experience, thus providing patients with a potentially freer, less restricted, way of relating to themselves and each other.     

Eschewing Community: Black Metal

There is a great deal of literature that examines community orientations, in particular consumption‐based subcultures rooted in the appreciation of music scenes such as heavy metal and its subgenres. Much of this literature focuses on aspects of community maintenance, reaffirmation of shared identities and building of social bonds. In the present article, we report a study in which consumption of, and fandom in a specific scene in extreme metal, namely black metal, may lead to very unique consumer cultural orientations. Our analyses reveal that black metal fans' identities reside in a realm outside of a desired collective identification and tightly knit community, but rather one that uses signification, or representational means to convey meaning and belonging, as a way to signal repugnance with society and a reverence of individuality. The study engages a mixed qualitative approach utilizing interviews, observational research and content analysis to demonstrate how self‐identity related to the black metal music scene can thrive through an ideological and semiotic rejection of traditional community orientations seen in the majority of other extreme metal music scenes. This paper challenges traditional conceptualizations of group identity in music scenes by closely examining aspects of signification and fandom in black metal that represent a unique system of shared identities devoid of community building. Copyright © 2014 John Wiley & Sons, Ltd.     

MUSIC OF THE SIKH DIASPORA: DEVOTIONAL SOUNDS,MUSICAL MEMORY AND CULTURAL IDENTITY

This paper explores the role of devotional music in the construction of Sikh identity in diasporic contexts. In particular, it examines a heterodox Sikh community in the UK and an orthodox Sikh community in Hong Kong from a comparative perspective, showing how music helps to clarify continuities and discontinuities in Sikhism worldwide. I provide ethnographic accounts of musical performances in different locales within gurdwara-s. Following a summary of current conventions in Sikh music performance and pedagogy, two ethnographic accounts are provided. The first is a musical ethnography of the Namdhari Gurdwara in Leicester where Hindustani classical music is performed alongside traditional ritual genres. The second site is a similar ethnographic study of the Khalsa Diwan Gurdwara in Hong Kong where the issues of diasporic identity and musical memory are foregrounded.     

Ungraceful God: Masculinity and Images of God in Brazilian Popular Culture

Abstract

The article investigates how God is represented in popular culture, especially in music, in Brazil. It gives a general background about Brazilian culture showing how religion is part of the identity constructions of Brazilian people and how it is marked by multiplicity, syncretism and hybridization. It then analyses two popular songs that make explicit statements about "who God is" and how those statements are related to traditional masculine gender constructions. Finally, the article discusses how issues of masculinity and religion have been approached in recent scholarship and points to the need for other ways of imagining God that are related to people's experience.     

“Sasaengpaen” or K-pop Fan? Singapore Youths,Authentic Identities,and Asian Media Fandom

Since the late 1990s, the Korean pop-culture wave has had a huge impact, achieving immense popularity and sustaining a global community of consumers and fans. In Singapore, a significant K-pop fan culture has emerged among youths. In this article, we study the emergence of the sasaeng fan—a stigmatized fan identity that refers to individuals who are unhealthily interested in the personal lives of K-pop idols. Drawing on data from mass and social media, participant-observation, and interviews, we map the significance of the sasaeng fan identity for Singapore K-pop music fans and focus specific attention on how fans negotiate an understanding of their own “authentic” identities vis-à-vis the mediated identity of the sasaeng fan.     

The Genderqueer Identity (GQI) Scale: Measurement and validation of four distinct subscales with trans and LGBQ clinical and community samples in two countries

ABSTRACT

Background: Non-binary gender measurement has grown out of a need for accurate representation in scholarship and public health services available to a diverse gender population.

Aims: The Genderqueer Identity Scale (GQI) was developed to allow for a multidimensional assessment of genderqueer identity, including non-binary identity, socially constructed versus essentialist gender, theoretical awareness of gender concepts, and gender fluidity. The GQI was designed to assess gender identity across a full spectrum of gender, at any age after mid-adolescence, and at various stages of gender identity development, including prior to, during, and after a gender transition, where applicable. Two of the GQI subscales focus on intrapersonal processes, while two focus on interpersonal processes.

Methods: The measure was piloted and refined across four distinct samples: a U.S. university based LGBT sample, consecutive clinical referrals at the Center of Expertise on Gender Dysphoria in Amsterdam, the Netherlands, a Dutch LGB community sample, and an online survey forum (LGBTQ).

Results: The first exploratory factor analysis identified minor potential adjustments, which were refined and retested. Researchers evaluated and cross-validated the hypothesized factor structure and determined that the three factor GQI subscales and the unidimensional Gender Fluidity measure yielded internally consistent and valid scores among transgender individuals seeking clinical treatment and LGB individuals within a community setting. The exploratory and confirmatory factor analyses provide evidence of good reliability, construct validity, and internal consistency of all four subscales.

Discussion: The subscales were appropriate across a spectrum of gender identities and can be taken in the same form over time and across gender transition statuses, making them suitable for clinical evaluation and community based longitudinal research with trans-identified or gender nonconforming persons. The development of the GQI fills critical gaps in gender-related measurement including the ability to assess multiple dimensions of gender identity, and to assess gender identity across time.     

Music,identity, and musical ethnocentrism of young people in six Asian,Latin American,and Western cultures

Ethnomusicologists and sociologists have extensively discussed the symbolic role of music in the creation, maintenance, and expression of cultural and national identity, while the underlying social psychological processes remain unexplored. We elaborate psychological mechanisms of identity construction and identity expression through culture‐specific music preferences. We propose and test a model linking music preferences to national identity via musical ethnocentrism in six student samples from Brazil, Germany, Hong Kong, Mexico, New Zealand, and the Philippines. In each context, culture‐specific music styles were related to national identity of its listeners and musical ethnocentrism mediated these effects. This paper bridges culture‐specific and universal perspectives on music and identity by examining the underlying psychological processes in Asian, Latin, and Western cultures.     

Creative potential: assessment issues and the EPoC Battery / Potencial creativo: temas de evaluación y batería EPoC

Abstract

Creative potential can be conceptualized as an ability to produce original ideas that have value in their context. This ability can be measured in three different ways, namely by examining (a) accomplishments or (b) ingredients (abilities and traits) underlying creativity or (c) through contextualized tasks that simulate real-world creative work. The Evaluation of Creative Potential (EPoC) Battery offers a contextualized measure of divergent-exploratory and convergent-integrative thinking processes applied in several content domains (visual art, verbal-literary, social, scientific, maths, music and body movement). The domain specificity of creative ability is represented by a profile of scores. Creative giftedness can be detected using this type of battery. The assessment of creative potential provides an opportunity for identification, orientation, individualized educational programmes and analyses of the effects of creativity training programmes.