Congregational music-making and community in a mediated age PDF
Preview Congregational music-making and community in a mediated age
Congregational MusiC-Making and CoMMunity in a Mediated age Congregational music can be an act of praise, a vehicle for theology, an action of embodied community, as well as a means to a divine encounter. This multidisciplinary anthology approaches congregational music as media in the widest sense – as a multivalent communication action with technological, commercial, political, ideological and theological implications, where processes of mediated communication produce shared worlds and beliefs. Bringing together a range of voices, promoting dialogue across a range of disciplines, each author approaches the topic of congregational music from his or her own perspective, facilitating cross-disciplinary connections while also showcasing a diversity of outlooks on the roles that music and media play in Christian experience. The authors break important new ground in understanding the ways that music, media and religious belief and praxis become ‘lived theology’ in our media age, revealing the rich and diverse ways that people are living, experiencing and negotiating faith and community through music. asHgate Congregational MusiC studies series Series Editors Monique M. ingalls, Baylor university, usa Martyn Percy, university of oxford, uk Zoe C. sherinian, university of oklahoma, usa Congregational music-making is a vital and vibrant practice within Christian communities worldwide. Music can both unite and divide: at times, it brings together individuals and communities across geographical and cultural boundaries while, at others, it divides communities by embodying conflicting meanings and symbolizing oppositional identities. Many factors influence congregational music in its contemporary global context, posing theoretical and methodological challenges for the academic study of congregational music- making. increasingly, coming to a robust understanding of congregational music’s meaning, influence and significance requires a mixture of complementary approaches. including perspectives from musicology, religious and theological studies, anthropology and sociology of religion, media studies, political economy, and popular music studies, this series presents a cluster of landmark titles exploring music-making within contemporary Christianity which will further Congregational Music studies as an important new academic field of study. Other titles in this series Christian Congregational Music Performance, Identity and Experience edited by Monique ingalls, Carolyn landau and tom Wagner Congregational Music-Making and Community in a Mediated age edited by anna nekola Denison University, USA toM Wagner University of Edinburgh, UK © anna nekola, tom Wagner and the Contributors 2015 all rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. anna nekola and tom Wagner have asserted their right under the Copyright, designs and Patents act, 1988, to be identified as the editors of this work. Published by ashgate Publishing limited ashgate Publishing Company Wey Court east 110 Cherry street union road suite 3-1 Farnham Burlington, Vt 05401-3818 surrey, gu9 7Pt usa england www.ashgate.com British Library Cataloguing in Publication Data a catalogue record for this book is available from the British library. The Library of Congress has cataloged the printed edition as follows: Congregational music-making and community in a mediated age / edited by anna nekola and tom Wagner. pages cm. – (Congregational music studies series) includes bibliographical references and index. isBn 978-1-4724-5919-0 (hardcover) – isBn 978-1-4724-5920-6 (ebook) – isBn 978-1-4724-5921-3 (epub) 1. Church music. 2. Christianity and culture. 3. Mass media– religious aspects–Christianity. i. nekola, anna e. (anna elizabeth), 1974- editor. ii. Wagner, Thomas, 1980- editor. Ml3001.C69 2015 264’.2–dc23 2015016392 isBn: 9781472459190 (hbk) isBn: 9781472459206 (ebk – PdF) isBn: 9781472459213 (ebk – ePuB) Bach musicological font developed by © yo tomita Printed in the united kingdom by Henry ling limited, at the dorset Press, dorchester, dt1 1Hd Contents List of Figures and Tables vii Notes on Contributors ix Acknowledgements xiii Introduction: Worship Media as Media Form and Mediated Practice: Theorizing the Intersections of Media, Music and Lived Religion 1 Anna E. Nekola Part I technology, Place and PractIce 1 Music as a Mediated Object, Music as a Medium: Towards a Media Ecological View of Congregational Music 25 Tom Wagner 2 Music, Ritual and Media in Charismatic Religious Experience in Ghana 45 Florian Carl 3 Panoptic or Pastoral Gaze? The Worship Leader in the New Media Environment 61 Tanya Riches 4 Who Gets to Sing in the Kingdom? 81 Ruth King Goddard Part II communIty creatIon 5 ‘This is a Chance to Come Together’: Subcultural Resistance and Community at Cornerstone Festival 101 Andrew Mall vi Congregational Music-Making and Community in a Mediated Age 6 ‘Through Every Land, By Every Tongue’: Sacred Harp Singing Through a Transnational Network 123 Ellen Lueck 7 YouTube: A New Mediator of Christian Community 141 Daniel Thornton and Mark Evans 8 Belonging, Integration and Tradition: Mediating Romani Identity Through Pentecostal Praise and Worship Music 161 Kinga Povedák Part III embodIed SonIc theologIeS 9 On the Inherent Contradiction in Worship Music 183 Allan F. Moore 10 ‘Yet to Come’ or ‘Still to Be Done’?: Evangelical Worship and the Power of ‘Prophetic’ Songs 199 Joshua Kalin Busman 11 Music and Happiness: Salvific Practice in a Feelgood Age 215 Clive Marsh 12 The Dance + Pray Worship Experience in Finland: Negotiating the Transcendent and Transgressive in Search of Alternative Sensational Forms and Affective Space 231 Marcus Moberg Afterword: Of Animatrons and Eschatology: Congregational Music, Mediation and World-Making 249 Monique M. Ingalls Index 259 List of Figures and Tables Figures 5.1 Cornerstone 2009 Festival map. © Cornerstone Festival / Jesus People USA, reproduced with permission 110 5.2 Camp Busted Guitar, reproduced with permission of the author 112 5.3 Amateur generator stage and flyers, reproduced with permission of the author 113 tables 1.1 Hillsong LIVE’s production activities are coordinated with holidays and major church events (based on chart in Riches 2010, 146) 36 7.1 YouTube CCS videos analysed 146 7.2 YouTube CCS Data 149 This page has been left blank intentionally Notes on Contributors Joshua Kalin Busman received the PhD in musicology from the University of North Carolina at Chapel Hill. He holds a BM in music composition from Middle Tennessee State University as well as an MA in musicology from UNC-CH. His dissertation research deals with music in contemporary American evangelicalism using phenomenology, ethnography and popular music studies. In addition to working on his dissertation, Joshua also works as a tutor at the UNC Writing Center, directs Gamelan Nyai Saraswati, a central Javanese ensemble based at UNC-CH, and serves as Arts Coordinator for Emmaus Way Church in Durham. Florian Carl is a Senior Lecturer in Ethnomusicology and Head of the Department of Music and Dance at the University of Cape Coast, Ghana. He holds an MA in Musicology, Social Anthropology and African Studies from the University of Cologne and a PhD in Ethnomusicology from Hanover University of Music, Drama and Media, Germany. He is author of Berlin/Accra: Music, Travel, and the Production of Space (LIT 2009) and his articles appear in the Yearbook for Traditional Music, The Globalization of Musics in Transit (Routledge 2014) and Ghana Studies. Mark Evans is a Professor and Head of the School of Communication at the University of Technology, Sydney. He is Series Editor for Genre, Music and Sound (Equinox Publishing) and is currently editor for The International Encyclopedia of Film Music and Sound. He co-edits the international journal, Perfect Beat, and holds an Australian Research Council (ARC) grant to design an artistic and environmental map of the Shoalhaven basin in New South Wales. His upcoming books include Sounding Funny: Comedy, Cinema and Music (with Phillip Hayward) and Moves, Movies and Music: The Sound of Dance Films (with Mary Fogarty). Ruth King Goddard is a DWS candidate at Robert E. Webber Institute of Worship Studies, Jacksonville, Florida. She has an MA in Theological
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