| REL 3398 Rhythms of the Sacred
Professor Janet McDaniel
Office Hours: M & W @ 12:00 DM 301B
Course Description: This course explores how music has been a powerful and essential part of mystical experience in the world's religious traditions, how it becomes religion and how religion influences music. It will focus on the phenomenon of religion in a comparative and global perspective, investigating the connections between religious doctrines, rituals, and cultural performances. Religious cultures will include Pre-historic and ancient societies; Hinduism, Buddhism, Islam, Judaism, Christianity including Globalization and Fusion of musical traditions. Each modern religion will include examples of contemporary music, e.g. Rock and Roll/Hip Hop/Rap.
Learning Outcomes and Course Objectives
Students will have an introductory understanding of major analytical paradigms from the academic study of religion and music, especially those useful for interpreting religious belief and cultural praxis.
Students will be able to assess the interrelatedness of music and religious experience as expressions of reverence for, and connection with the divine.
Students will understand that music and chant are tied to religion on a basic level of practice (ritual and liturgical) and experience.
Students will understand that sacred music transcends music and serves a connection between ritual and myth in cultic life.
Students will understand sacred music lies at the heart of a faith tradition
Beck, Guy L.ed. Sacred Sound: Experiencing Music in World Religions. Ontario: Wilfrid Laurier University Press, 2006. If you purchase this as a used text, make sure it comes with the accompanying CD.. the CD is a requirement
Dowley, Tim. Christian Music: A Global History. Minneapolis: Fortress Press, 2011
Class Participation: 10 points
Attendance is mandatory. Missing more than 5 class periods will lower your grade by 5 points..
Classroom conduct and respectful discourse. Regardless of attendance, if classroom conduct is repeatedly disruptive, your grade can be lowered by the entire 10 points. Respectful discourse includes but is not limited to the following: one person speaking at a time, refraining from interrupting or carrying on a conversation with those around you while I am lecturing or persistent off topic commentary/questions. If your discourse becomes problematic, you will receive an email as a warning through regular FIU/Panthersoft email.
Being prepared for and participating in class discussions
Completion of the Global Learning Requirements
Complete readings and listening selections before class.
Checking FIU email before each class.
Understanding your course progress which includes checking that grades are recorded accurately in the grade-book. Notification of any such discrepancies must be emailed to me by the last week of class.
Any questions or disagreements with grades must be sent via FIU email and discussed before the end of the semester.
Course Work: Full descriptions, rubrics, dates will be posted on Moodle. There will be 3 Quizes consisting of multiple choice and short answer questions each worth 20 points towards the final grade and a Semester Project worth 30 points.
Semester Project: The project is intended for students to devote special attention to a case study in world music. This may be accomplished in three ways: 1) One that is completely researched based, 2) one that is research based with a performance choice, or 3) one that is an original student composition. Choices 2 and 3 may be an individual project or small groups consisting of no more than 4 students in the class. All projects must have the following components: Proposal, Bibliography and Paper. Choices 2 and 3 must also contain a Performance. The performance can be a traditional live or recorded performance, or accomplished through the medium of your own music video. If you choose to compose your own piece, you must also submit a score along with your paper. If you have an alternate idea for a project, you must speak to me prior to handing in a proposal.
Proposal: Due by the end of the fifth week of class. A paragraph description of your project. A bibliography of at least 3 sources. 5 points.
Bibliography: This must be in MLA or Chicago Style. Minimum 5 sources. Due at the end of the semester.
Paper: Choice 1, 2000 words; Choice 2, 1500 words; Choice 3, 1000 words plus musical score. Issues to address: style, religion, time period, setting, usage. What type of music is it? Is the piece reinforcing a doctrine or belief? Does it evoke a sense of the numinous or a mystical experience to either/both the performer and listener? Does it have an ethical, social or political message? If you are doing this as a group project, each participant must write his or her own paper.
Performance: Your performance time should be 3 – 5 min. If your piece is either shorter or longer, you must consult with me. You are responsible for any help you may need with this project, e.g. an accompanist. You are permitted to recruit additional participants if needed, e.g. extras in your video. Video ideas: choose a piece or a topic (e.g. Requiem) and place pictures or video clips with the music. Create your own music video. All videos must convey religious expression and analysis.
DO NOT: Despite the fact we will be discussing areas of music and religion that go beyond the confines of U.S. law; illegal elements will not be tolerated in your projects. For example, you may not reenact a Dionysian orgy or a sacrifice and you many not utilize drugs
Project Resource Internet Links
Introduction to Music Theory http://cnx.org/content/col10208/latest/
World Music Resources http://artsedge.kennedy-center.org/themes/arts-resources-world-music.aspx
Plagiarism will not be tolerated and will result in a zero. Plagiarism is 1) copying any written material without using proper citation – this includes material from the internet; 2) incorporating another person’s ideas without giving proper credit/citation (literary theft). 3) cutting and pasting sections of text from the internet, even if it does not have a listed author, into your own work.
Florida International University is a community dedicated to generating and imparting knowledge through excellent teaching and research, the rigorous and respectful exchange of ideas, and community service. All students should respect the right of others to have an equitable opportunity to learn and honestly to demonstrate the quality of their learning.
Therefore, all students are expected to adhere to a standard of academic conduct, which demonstrates respect for themselves, their fellow students, and the educational mission of the University. All students are deemed by the University to understand that if they are found responsible for academic misconduct, they will be subject to the Academic Misconduct procedures and sanctions, as outlined in the Student Handbook.
Citations Bibliographies and citations should be in MLA or Chicago Style format.
Grading Scale: Grades are based on accumulated points, 100 in total
94 – 100 A 74 – 76 C
90 – 93 A- 70 – 73 C-
87 – 89 B+ 67 – 69 D+
84 – 86 B 64 – 66 D
80 – 83 B- 60 – 63 D-
77 – 79 C+ 59 & below F
Students registered through Disability Services will receive accommodations. Students with extended time on exams may take the exams at Disability Services or see me for alternate arrangements.
(subject to change: students will be given reasonable notice to any changes)
Updates to class calendar will be posted on Blackboard Learn
Listen Sections: Subject to updates and changes.. links on Blackboard
Your Suggestions Are Welcome Additions!!!!
Note: you are not required to listen to everything that is posted!
1/9, 1/11, 1/14
Worldviews and Problems of Ethnocentrism
Music and Religion: Interaction between Composer, Artist and audience Introduction to Paradigms in Religious Studies
Numinous and Mystical Orientations
Graziano, Michael. Why is Music a Religious Experience? Huffington Post. 15 June, 2011. On BB
Beck, Guy, L. “Introduction” in Sacred Sound. pp 1- 23
Watch/Listen Mickey Heart: Mysterium Temendum BB
1/15 Last Day to Drop Classes without $$ Penalty
Introduction to Musicology
Rhythm, Scales and Notation
Pythagoras: Math, Music and the Divine
Watch: How Music Works ; Donald Duck in Mathmagic Land On BB
1/23, 1/25, 1/28
No Class MLK Day
The Chicken or the Egg? Music and Religion
Prehistoric and Ancient Societies
The Divine Origins of Instruments
Music in the Bible
Music as a Source of Religious Teachings
McCorkle, Dennis F. “Instruments.” Music of the Bible. 2007 On BB
Levy, Michael. Ancient Lyre Music BB
Chapter 1, “Before the Church” in Christian Music: A Global History pp. 11 – 24.
Sappho’s Marriage Celebration BB
1/30, 2/1, 2/4
Judaism: Beliefs, practices, vocabulary and primary sources
Origins and Worship: Temple(s) and Synagogues
Ritual Context: Public and Private
Medieval Music: Sephardic and Ashkenazi
Chant and Instruments
American Judaism: Borrowing of traditions, Hymns
Current Trends in Jewish Music
Levine, Josheph A. “Judaism and Music,” in Sacred Sound, pp. 29 – 59.
Jacobson, Joshua R. “Explorations in Jewish Music” Religious Studies News: Spotlight on Teaching, Spring, 2001. BB
CD Accompanying Sacred Sound: Track 1, 1st Question of Passover; Track 2, High Holiday Prayer; Track 3, Shema; Track 4, Torah; Track 5, Passover Haggadah; Track 6, Night Prayer; Track 7, Priestly Blessing
Lecha Dodi (Come, My Beloved); Ana B’Ko’ach (Kabbalistic Prayer); Streisand, Barbara Avinu Malkeninu; Collection of Jewish music: Music of Israel; Matiyashu BB
2/6, 2/8, 2/11
Islam: Beliefs, practices, vocabulary and primary sources
Oral Transmission and Chant
Muezzin and the Adhān (The Call to Prayer)
Sufism and Devotional Music
Sufism and Samā’ Mystical Musical Poetry to Commune with God
Hymns: Praising the Prophet, Commemorating Martyrdom to Saints
Music as a Source of Spiritual Discipline
Current Trends in Islamic Music
Qureshi, Regula. “Islam and Music,” in Sacred Sound, pp. 89 – 111; Shubel, Vernon J. “From the Dutar to the Electric Guitar: Exposing Students to the Music of the Muslim World.” Religious Studies News: Spotlight on Teaching, Spring, 2001. BB
CD from Sacred Sound: Track 15, Call to Prayer: Adhān; Track 16, Qur’ān: Al Fātiḥa; Track 17, Ai Nasim e-ku-e; Track 18, Allāh, Allāh, Allāhu; Track 19, Mujrayi Shah; Track 20, Ai wa-e-nahr-e alquaman
Mahiya – Great Sufi Song; Ya Muhammed feat Sufi Dance (link on bb); Maher Zain - Insha Allah | Insya Allah; Pakistan/North India: Sufi Music (link on bb)
Due 2/12 Project Proposal
2/13, 2/15, 2/18
Hinduism: Beliefs, practices, vocabulary and primary sources
Music as means of Moksha, release/enlightenment
Chant and music in ancient India
Brahman and music
Tantric Worship and music
Bhakti movements and music
Current Trends in Hindu music
Western appropriation of Hindu music
Beck, Guy L., “Hinduism and Music” in Sacred Sound. pp. 113 – 139.
Weismann, Ann, “Hindu Musical Instruments.” BB
Watch: Recommended: Cartoons on traditional Hindu religious tales BB
Track 21, Gāyatrī Mantra; Track 22, Rig Veda: Purusha Sūktam; Track 23, Bhagavad Gītā; Track 24, Dhrupad: Dekho Sakhī Vrindābana; Track 25, Padāvali Kīrtan: Śrī Nanda Nandana; Track 26, Bhajan of Sūr Dās: Aba Merī Rākho Lāja Hari; Track 27, Raghupati Rāghava
The Music of India: An Explanation of Indian Music; Andaal kauthvam ; Ansheeds; Maher Zain - Insha Allah | Insya Allah (modern Islamic Rock) BB
George Harrison: Samsara Davanala – Prayers to the The Spritual Mater; My Sweet Lord BB
2/20, 2/22, 2/25
Buddhism: Beliefs, practices, vocabulary and primary sources
Music and Chant in Early Buddhism
Tibetan Buddhist Chant
Japanese Shingon Buddhist Chant:
Music as Spiritual Discipline
Current Trends in Buddhist Music
Western appropriation of Buddhist music
Williams, Sean, “Buddhism and Music” in Sacred Sound, pp. 169 – 189; Buddhism and Music BB
Track 34, Drum Invocation; Track 35, Invocation: Mangalacharanam, Three Gems: Trisaraṇam; Track 36, Five Precepts: Panchaśīlā; Track 37, Four Noble Truths: Dhamma Chakka Sutta; Track 38, Tibet Mantra: Oṁ Maṇi Padme Hūṁ; Track 39, Tibet Contour Chant; Track 40, Japanese Heart Sūtra: Hannya-Shingyo
Buddha Oratorio BB
Steely Dan, Bodhisattva ; Jon Anderson, Big Buddha BB
2/27, 3/1, 3/4, 3/6, 3/8
Christianity: Beliefs, practices, vocabulary and primary sources
Origins and Worship
The Roman Catholic Church
Oral Transmission and Chant
Medieval, Renaissance, Classical, Baroque and Romantic Music
Sacred and Profane sounds
Ritual Context: Mass, Requiem, Liturgical Dramas, Matins, Vespers
Hobbs, Gerald, “Christianity and Music,” in Sacred Sound, pp. 61 – 88;
Chapter 4, “Christian Chant: The Core of Medieval Worship” in Christian Music: A Global History pp. 50 – 61.
“Sybil of the Rhine: Hildegard of Bingen” in Christian Music: A Global History pp. 62 – 63
Chapter 12 “ The Viennese Tradition: Liturgical and Non-Liturgical Sacred Music,” ” in Christian Music: A Global History pp. 145 – 153.
CD from Sacred Sound: Track 8, Kyrie, Sanctus, Agnus Dei; Track 10, Salve Regina
A Feather on the Breath of God, Hildegard of Bingen; Roman and Gregorian Chant lists; Sanctus, John Taverner (Tudor Musician); Vesper music, Monteverdi; Requiem, Mozart (Kyrie); (dies irae); (Lacrimosa); Verdi (dies irae); Exultate Jubilate (Allelujua), Mozart; Mass in C, Beethoven; 23rd Psalm, Schubert; Panis Angelicus, Schubert; Adam La y bounden, Benjamin Brittan; Pie Jesu, Andrew Lloyd Weber
Spring Break 3/11 -15
3/18, 3/20, 3/22
The Protestant Reformation and Music
The Waffling Church of England
Ritual Context: Cantatas, Oratorios, Chorales, Hymns, Passions, Carols
Chapter 7, “A Safe Stronghold: The Music of the Lutheran Reformation,” pp. 86 – 95;
“Amazing Grace,” in Christian Music: A Global History pp. 124 – 125
“In the Deep Midwinter: The Story of Carols,” in Christian Music: A Global History pp. 175 – 177
“The Legendary Story of Silent Night,” in Christian Music: A Global History pp. 178
CD from Sacred Sound: Track 9, A Mighty Fortress; Track 11, I’ll Praise My Maker; Track 12, Holy, Holy, Holy; Track 13, All Things Bright and Beautiful; Track 14, Amazing Grace
In Dulcio Jubilo, JS Bach; Magnificat Bach; The Messiah (Unto Us a Child is Given and Hallelujah) Handel; Festgesang, Mendelssohn; O For the Wings of a Dove, Mendelssohn BB
Simple Gifts, Shaker Song; Collections of Hymns and Carols (listen, history and musical scores); Cyber Hymnal: BB
3/25, 3/27, 2/29, 4/1, 4/3
Contemporary Trends (Gospel, Country, Folk, Jazz and Rock N Roll)
“Chapter 16, “I Got a Home in Dat Rock: Spirituals and the Blues,” pp. 190 – 194 in Christian Music: A Global History Chapter 19, “(Give Me That) Old Time Religion: Gospel Music in the Twentieth Century, pp. 222 – 229; Chapter 20, “I Wish We’d All Been Ready: The Making of Contemporary Christian Music Industry” pp. 231 -237; and “ Chapter 21, “Ain’t Nobody Nowhere Nothin’ Without God: Christians do Country, Folk, and Jazz” pp. 240 – 244 in Christian Music: A Global History
Elvis Presley, “How Great Thou Art” in Christian Music: A Global History p. 218
Watch: Slave Song Book, PBS; Selected Spirituals; Blind Willie Johnson, Blind was the Night, Cold was the Ground; Grateful Dead “Samson and Delilah” (remake, If I had my Way, I would Tear this Building Down by Blind Willie Johnson); Blues Brothers and James Brown, The Old Landmark/Can You See The Light? Fisk Jubilee Singers; Sam Cooke, That’s Heaven to Me; Thomas Dorsey, Take My Hand Precious Lord (sung by Aretha Franklin); Mahalia Jackson When I Wake Up In Glory James Vaughan, I Need The Prayers (Southern Gospel Music); Elvis Presley, How Great Thou Art; USA Gospel Music (recommended to explore) BB
Hank Williams, I Saw The Light, Johnny Cash, The Old Rugged Cross. BB
Peter, Paul and Mary Early In The Morning; Amy Grant, El Shaddai; Go Go Joseph, Joseph and the Amazing Technicolor Dreamcoat, Weber; Mary Did You Know? From The Passion of Christ BB
Listen: Rock N Roll Send Your Suggestions!
Bob Dylan, Knock Knock Knockin on Heaven’s Door; Joan Osborne, One of Us; Mr. Mr., Kyrie Eleison ; Eric Clapton, Tears in Heaven; Scorpions, Send Me an Angel; Sarah Lachlan, Angel ; Beyonce, Ave Maria ; compare with Bach Gounod; Crosby, Stills, Nash, Southern Cross; Madonna, Like a Prayer. U2Charist; BB
Mini Documentary about Paul Simon and religion in his music; The Afterlife BB
Sacred or Sacrilegious
Readings Religion in Music Videos (listen to selections); The Evolution of Rock and Roll: Its Religious and Ecological Themes, Journal of Religion and Popular Culture, Vol 2. 2002; (Recommended) BB
Listen: R.E.M., Losing My Religion; Bad Religion, American Jesus
4/5, 4/8, 4/10
Globalization and Fusion of Christian Music
“Christian Music in Latin America: 1500 – 1800,” in Christian Music: A Global History pp. 132 – 133
“Christian Music in Latin America since 1800,” in Christian Music: A Global History pp. 206 - 209
“Christian Music in Africa,” in Christian Music: A Global History pp. 186 - 189
“Music Among Christians in South-East Asia” in Christian Music: A Global History pp 219 – 220
“Music Among Christians in the Indian Subcontinent,” in Christian Music: A Global History p. 230
“Christian Music in China” in Christian Music: A Global History p. 245
“Christian Music of the Pacific Islands,” in Christian Music: A Global History p. 246
Eso rigor e repente, Gaspar Fernandes; Example of Nueva Cancion music; El cielo canta alegria; Ethiopian Spiritual Song; Ethiopian Orthodox Music; African Sanctus; Syrian Christians of Kerala; Malankara Orthodox Liturgical Song; BB
Examples from www.worldmusic.net
4/12, 4/15, 4/17, 4/19
Student Project Performances
Fandrich, Ina J. “The Importance of Listening to the Heartbeat of Mother Earth.” Religious Studies News: Spotlight on Teaching, Spring, 2001.
Final Exam Week
Student project performances may be during scheduled final exam time, depending on how many wish to have theirs shown.