Sound, Music and Religion - A Preliminary Cartography of A Transdisciplinary Research

Sound, Music and Religion: A Preliminary Cartography of a Transdisciplinary Research
Field
Author(s): Isabel Laack
Source: Method & Theory in the Study of Religion , 2015, Vol. 27, No. 3 (2015), pp. 220-
246
Published by: Brill
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It"/.
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„ METHOD
METHOD AND THEORY IN THE STUDY
¿^THEORY m the
STUDY OF
'«O' OF RELIGION 27 (2015) 220-246 RELIGION
BRILL brill.com/mtsr
Sound, Music and Religion: A Preliminary

Cartography of a Transdisciplinary Research
Isabel Laack
University of Heidelberg, Institut für Religionswissenschaft, Akademiestr. 4-8,

D-69117 Heidelberg, Germany
i sabeL laack@zegk. uni- h eidelberg. de
Abstract
Sound and music play a vital role in many religious and spiritual practices around the
world. However, they have not been studied considerably in the field of religion or in
related disciplines thus far. This article begins to bridge this gap by drawing a prelimi-
nary cartography of the research field and proposing a transdisciplinary methodologi-
cal basis for further studies. It includes a survey of the state of research and firmly
locates the field within the secular study of religion rather than within phenomeno-
logical, theological or religious approaches. The key concepts "sound," "music" and
"religion" are introduced; and the manner in which common perceptions of these
concepts have prevented us from noting some of the most interesting phenomena,
especially in contemporary religiosity, is discussed. Finally, a spectrum of potential
research perspectives that could be covered by future studies is proposed.
Keywords
sound - music - spirituality - study of religion - religious studies - methodology -

theory
Introduction
Around the world, music and sound play a vital role in many people's lives and
often lie at the heart of their cultural and religious identities. Music, sound
and silence form important parts of religious rituals, and many creation myths
include them in their narratives. Complex musical styles have been created
© KONINKLIJKE BRILL NV, LEIDEN, 2015 | DOI 10.1163/15700682-12341339

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SOUND, MUSIC AND RELIGION 221
within the diverse religious tradi

been ascribed to sound and theories about the effects of sound on human
and on non-human entities, such as deities, have been developed. Western
classical music and popular music, although typically understood as secular
cultural subsystems, contain many religious themes and motifs. These patterns
express aspects of the religiosity of artists, reflect discourses on and the histori-
cal developments of religious thoughts and practices and stimulate individu-
als to adapt symbols and practices from diverse religious traditions into their
everyday life and to combine them with each other. Alternative spiritualities
are often characterized by their distinguished combination of both musical
expression and religious worldviews, e.g., in New Age, Neo-Paganism or in rave
subculture. Finally, the soundscapes of our world are strongly shaped by reli-
gious groups and their behavior, thereby influencing identity negotiations and
political conflicts.
One finds relationships between sound and music with religion everywhere
once one has begun looking. Therefore, it is surprising that these phenom-
ena have been studied only marginally to date. According to religious scholar
Guy Beck, this lack of interest in sound and music within the academic study
of religion has its roots in two fundamental concepts from the Western his-
tory of ideas: First, "religion" is modeled after (a certain understanding of)
Christianity and is thus characterized as a "set of beliefs and doctrines incor-
porated in scripture and sacred texts," which, according to Protestant habits,
are primarily "read quietly in private space" (Beck 2006a: 7). Second, since the
Enlightenment, religion and culture (including music) have been considered
as two distinct social subsystems with divergent functions and objectives (Beck
2006a: 9); thus, the relationship between them has been neglected. In addition
to these two intellectual legacies, inner-disciplinary reasons might also apply.
After the phenomenology of religion had fallen into disgrace, scholars of reli-
gion hesitated to focus on religious experience and thus on the role of music in
religions or simply felt insufficiently competent in both religious studies and
musicologa Regardless of the reasons for the neglect of sound and music in
the academic study of religion, a wide gap in the research remains. Too many
expressions of religiosity have been overlooked, too many forms of religious
experiences have been ignored, too many religious aspects in music have been
left unseen and too many factors in identity negotiations and political conflicts
have been left undetected.
This article aims to begin bridging this gap by providing a preliminary

cartography of the research field, thus developing a sound methodological
basis for further studies. It includes a survey of the state of the art and an inven-
tory of the fundamental methodological and theoretical challenges involved.
METHOD AND THEORY IN THE STUDY OF RELIGION 27 (2015) 220-246

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222 LAACK
In this m
and religi
posal for
humaniti
and in wh
secular st
religious
study of
temologic
namely, s
tingent c
prevented
research
a panoram
perspectiv
I Sound,
The study
plinary e
sciences a
from man
oriented t
schools su
understoo
into so-ca
of religio
ogy (or ac
specializat
the way t
gest joinin
Concisely
topic or r
ciplines ar
bined to g
e.g., Hado
perspecti
a medium
religion a
METHOD

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individual and collective recipient

this medium and whose actions ar
and by social, cultural and religious
spectives to acknowledge cognitiv
aspects of acoustic perception and
allows us to search for general rule
religious and individual particularit
Having introduced this idea of a
field, I will now present a brief surv
of sound, music and religion. I star
study of religion, and (b) conside
This discussion is followed (c) by
in which a handful of scholars ha
some of these disciplines, metho
that are highly relevant for a tr
ships between sound, music and
approaches at this stage in the st
oversimplification and the neglect
A Music ( and Sound) in the St

Within the study of religion, the h
and has favored music over sound i
the discipline, such as Rudolf Ott
not only acknowledged the role of
ther speculated about the relatio
and the experience of the Numi
given its ability to arouse strong, ir
is wholly other , but it never man
Notwithstanding, it appears that
scholars following Otto and van der
a topic of non-interest in the study
onstrated by Guy Beck's examinatio
religious scholars (Beck 2006a: 4-6
theories on religion proposed betwe
ductions to methodological and the
is also not mentioned in dictiona
books on world religions. Even (A
1 For a compelling analysis of the role

(2014: 5-8).

134.184.119.81 on Thu, 16 Feb 2023 09:03:20 UTC
224 LAACK
sound or m
in musico
the Encyc
was writt
the secon
tions of m
used in re
research f
However
sound, m
logical vol
(1997)> wh
articles o
The last is
and is des
world rel
and musi
studies on
ing Annet
Qureshi o
on Jewish
and on m
indigenou
porary Pa
Music (e.g
(Bohlman
been analy
(2005). Mil
Till (2010
as new, p
Partridge
ity" (or "o
tuality. In
of Religio
theories o
Max Webe
that mus
religion.
To conclude this brief survey on the state of the art within the study of
religion, I mention the "sound in/as religion" symposium at the 2010 iahr

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conference in Toronto. This sympo

Hackett, who gathered scholars of
France, Germany and Nigeria, thu
of topics within this research field
cover music in religion, Hackett in
relatively young sound studies.
B Religion in Musicology
Comparable to the marginal positio
gion, religion has been considered
musicology, such as ethnomusico
of Western classical music. The lat
on the "music itself" and its com
sions of religion. Helga de la Motte
Religion (1995) captures this prog
main historical stages of music wit
West; Wilfrid Meilers' survey of t
Celestial Music (2002) is similar.
Early forms of European classic
text of Christian ritual. According
and the work of its major and m
von Bingen and Giovanni Pierlui
Wolfgang Mozart or even Olivier
2009; Greene 2012). A major chan
the bourgeois population increas
itself from the Church and its C
found their way into major music
example, many operas from this t
Antiquity (Leopold 2006). Scholar
religiosity in the biographies of
Wolfgang Amadeus Mozart and
Die Zauberflöte (Henry 2006). An e
gion during the 19th century has
of music as a door to experienci
20th-century artists, such as John
traditions of the East (Larson 2012
bined minimalist elements with
early polyphony) and Russian-Orth
A wider theoretical approach to e
and spirituality is presented in th
METHOD AND THEORY IN THE STU

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226 LAACK
edited by
ditional
musical
Music and
and meth
quite tra
book pres
religion,
Within h
cling to
music. T
academic
including
of a new
tioned k
the music
dental' a
deconstr
its "patr
all, they
cultures
such mov
have wor
ments, y
outside of
terms. Th
Middleto
only in i
discussing
Thus far
the histo
clude, an
ethnomu
was main
many m
small-sca
styles of
gists ope
between
was not
METHOD

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intertwined with other cultural ex

ies on music also covered religio
Encyclopedia of World Music, Netti
ing a larger perspective on music a
C Other Disciplines Relevant for

and Religion
Having presented these overviews o
religion and on the inclusion of rel
now turn toward further discipline
plinary perspective. A wide literatu
very particular questions located in
especially articles in academic jou
some of these articles, I will pres
research fields involved.
First, regional and historical studi

gion as their main focus, but consi
the case in cultures in which bot
expressions, such as in South Asia
societies that are typically analyzed
In other areas of research, musi
religion, but more generally in rela
Thus, a broad range of discipline
epistemologies and theories that ar
studied here, but highly relevant
insights into how humans proces
both emotionally and bodily, how t
particular situations or professio
behavior and on the nature of soun
Ethnomusicology provides us no
gies but also with theories on mu
texts of (in many instances) highly
sociological studies of music illus
coherence and collective identity
are carried out through musical t
ence to musical styles in scenes.
channels of distribution and othe
and media studies transcend the fo
tion within other media, especial
tous in the everyday life of so man

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228 LAACK
examined
cal issues.
enced by
inventions.
Ritual studies have almost completely ignored sound and music, although
both are the main components of many rituals. Despite this neglect, gen-
eral theories on ritual behavior and efficacy are promising frames within
which to analyze the particular roles of sound and music. Similarly intrigu-
ing for the study of religion are semiotic interpretations of both ritual and
music. Thus far, the psychology of music has been largely concerned with the
cognitive processing of musical data, thus often intersecting with cognitive
studies. Nevertheless, scholars in the cultural and social psychology of music
have recently developed an interest in broader questions regarding the rela-
tionships between sound, music and emotions, in the role that music plays
in the construction of individual identity and in its everyday use as a motiva-
tional and therapeutic tool. Western music therapy traditions have reflected
on their experiences with music as a therapeutic tool in actual therapy ses-
sions. Although these reflections often have a strong applied flavor and do not
always fulfill academic standards, they nevertheless provide a rich source of
empirical data and theories regarding the efficacy of music. Finally, medicine
and the life sciences provide us with knowledge about the human body and
its interrelationships with the psyche, which form the basis for studies on the
effects of music on the body.
My last example of academic traditions that are relevant to a transdisci-
plinary study of sound, music and religion returns to religious studies, namely,
the practices and their reflections found within the religious traditions them-
selves. Many religions have developed theories on the role of sound and music
both in ritual practice as in cosmology, on music's nature and efficacy. Certain
musical styles have been forbidden because of their effect on the body (e.g.,
accused of arousing sensual and sexual needs), and fierce arguments have
occurred regarding the best style of music to be used for particular functions
and on professionalism and the correct inner attitude to be taken on the part
of the musician (and composer). These thoughts have been elaborated within
Christian traditions, including theology, liturgical studies and practical church
music training; however, these disputes have also occurred in other religions,
with Hindu traditions being perhaps the most elaborate. In addition to func-
tioning as a research object , these discussions may also stimulate academic
theories, if their normative nature is reflected upon and considered.
With these cautionary remarks I would like to end this section and continue
to general questions of epistemology.

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II The Secular Study of Religion

An Epistemological Decision
Any transdisciplinary research proje

base upon which all participants migh
a starting point, there is by no mean
tion of our discipline, particularly if
2008). From the beginnings of the
has been much debate about its ep
interests, and the heated arguments
Aware of the danger of oversimpl
ments in the European and North Am
and diverse positions are located. One
is characterized by religious studie
tive religion, often preferring herm
themselves with the humanities. Typ
discussion is painted in broad strokes
wish to entertain dialogue with re
issues or general philosophical, eth
regarding what it means to be hum
the following statement: "We wish to
On the other side of the divide, scho
sciences and sometimes natural scienc
positivistic) epistemologies of thes
people who take the first approach a
with religious people and making a
as "religious," this approach aspires
intellectual questions that fundamen
of the people studied. Whereas in Eu
religion has settled itself firmly wit
the label of the "cultural study of re
Academy of Religion appears to repr
why the North American Association
to promote the secular study of relig
Searching for an epistemological f
of sound, music and religion, I see
disciplines for the secular approach
field here, within the secular, cultura
to the fundamentals of this approach
application of reason and rationalit
METHOD AND THEORY IN THE STUDY

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230 LAACK
rooted in
fiability
secular kn
normativ
of religio
objectivit
mologies
However,
tally que
modern
realization
is influen
just no w
(yet?) bee
The sugge
(Stausber
subjective
to state o
to embrac
work's su
ularly co
level tha
with relig
In summ
disciplina
sus, dialo
come fro
ies or fro
cultural
where th
Where d
with resp
gious clai
their tru
rally "lim
produce"
As Engelh
gious pra
essences
METHOD

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religion), these claims regarding

of music's power by reference to it
lar study and analyzed in their soci
their truth claim should not be dis
is fundamentally opposed to the
himself confidently in the phenom
der Leeuw, Wach and Eliade. For hi
"artistic creationfs] in total human
the divine, which can be conceived
his studies on religious music, Be
authentic portrait possible of the n
In his view, the study of religious m
tradition" (Beck 2006a: 10) - far mo
said tradition, such as theology,
the imagination and unconscious,
timeless truths" (Beck 2006a: 12).
of scientific methods rather than h
cal explanations employed in the
and the "overly rational and skepti
ment" (Beck 2006a: 13). In his opini
2006a: 3) enables the "understand
(Beck 2006a: 8). Furthermore, Bec
about the divine origin of sound
academic study of religious music
truths, however, does not concer
Beck's research interests in comp
of religion.
Apart from these issues that relate to the religious aspects of music, musicol-
ogists have led a somewhat similar debate on normativity and the objectivity
of scientific research (here with regard to aesthetic judgments and experi-
ences). First, music analysis and music critique more often than not propose
rather subjective interpretations of music, including normative aesthetic judg-
ments. This trend can be observed for particular pieces of art as well as for
complete musical styles. Decisions of musical taste, which have been known
as representing social divisions since Bourdieu (1984), have even been applied
to a complete section of music, conveniently labeled as "popular" music by
elitist scholars. Second, musicological schools inspired by social sciences, such
as the sociology and psychology of music, have largely shied away (thus far)
from analyzing musical experience at all because the topic alone conjures
up the specter of subjectivity. Antoine Hennion sees a "great divide between

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232 LAACK
expressive
accounts
tural, gen
on the oth
In contra
on these
ignore eac
What are
plinary st
as "human
verbal acc
and music
medium in
tive and e
with the
academic
aesthetic
own musi
sage" inhe
of scientif
experienc
scientific
experience
cal piece o
Ill Sound
Having p
describe i
long tradi
lectual cat
laws. Many
apparentl
religion b
"Religion i
ar's analy
tion. Relig
This is no
edge and
METHOD

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shall suffice to summarize the i

discourse is culturally and histo
religion have painfully realized
many of our perceived "neutral"
influence socio-political reality
ticularly regarding the category
in favor of a pragmatic viewpoin
(2010). Given the fundamental com
is not my intent to define any of
music here. Instead, I will reflect
categories have prevented us from
nomena within this research field
osity. I start with "sound" and "m
and "silence"), followed by aspect
A Sound and Music
Non-musicologists and European musicologists alike might be naively

to think that "music" is a cross-culturally applicable category. Howev
nomusicology demonstrates that "music" is rather a Western conc
laden with associations deeply rooted in European cultural history.
In many cultures, such as those in Ghana or Bali, there has traditio
no common category "music." Instead, many different terms and
employed according to the cultural situation or the specific ritual in
is used. Only since colonialism and globalization has the English word
spread around the world, often particularly denoting imported West
cal styles (Reinecke 1991: 14-17). What we would call "music" is not e
perceived as sound made by humans or as a "sound" phenomenon at a
the Music of the Spheres, the "music" is a natural phenomenon and r
the harmoniously organized mathematical laws of the universe.
The differences between music and sound are by no means les
cated. Generally, we perceive "sound" as either having a non-hum
(such as the sounds of waves breaking against the shore) or as bei
nized or less complexly arranged than music. This usage is comm
in the history of research of the field proposed here as well. "Religi
is most often considered as the highly complexly arranged sound
and/or used within traditional religions. In contrast, "sound," is
used in conjunction with "soundscapes," the sound environmen
people live and which is shaped both by natural and (wo)manm
(e.g., church bells, the call for prayer, the sounds of technical equip
multimedia devices in our modern world). The difference betw

134.184.119.81 on Thu, 16 Feb 2023 09:03:20 UTC
234 LAACK
and music
applied to
taste, or
the body
tion of th
history h
from ritu
sexual dr
category
downgrad
music. On
tic: the ab
The cultu
apparent
tures, cate
potentiall
as perform
effects an
on "sound
in a score
European
ideology b
rooted in
2005: 624
that we p
However,
nomena f
question a
to us as on
plicity in
into the r
ings, crea
B Sound
Much has
ing "religi
of religio
connotatio
19th cent
cultures
METHOD

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(see Fitzgerald 2000; Schilbrack 2010

apply this discussion to the field
these connotations have prevented
phenomena within the field of reli
giosity. This argument is explained
The classical approach to studyin
stands the latter as institutionali
the discipline, scholars of religio
multitude and diversity of religio
by separating them into neatly cu
of the most (in)famous examples
these notions, they remain prevalen
discourse. For example, educationa
thrive on the US-American marke
phenomenon has strongly influence
which is usually equated with "relig
ticular religious traditions. Nonethe
gion" in places where it has not bee
initial studies have recently been
references within the lyrics, soun
Western art music and popular m
occasionally appear to feel pressu
in something that is often labele
"ersatz religion" or things that are
guided expressions of strayed art
tones, which are mainly voiced b
revision of our associations with th
and music. Apart from the sound
tices and religious references in sec
relationships exist between sound,
unnoticed to date.
First, there is the large field of n
as "alternative spirituality." Christo
tled The Re-Enchantment of the
relationship between contemporary
religions. He discovered not only th
sources of inspiration for musician
catalysts for the development of
subcultures and lifestyles in the W
cal key characteristics; e.g., the sce

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236 LAACK
Neo-Pagan
music and
chedelic f
music an
scene, inv
Rupert T
specific m
modernity
as spiritua
in concert
do not on
fall into t
ratives ab
are mani
phenome
are indee
experienc
did so) an
(Sylvan 20
Another
arates cul
and econo
music is a
to religiou
and a sec
large mar
a deeply
to follow
fundamen
music sty
time, the
e.g., in th
Bollywood
Finally, sc
into view
topics. In
and comb
diverse r
themselv
METHOD

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processes have become possible

to the growth of media coverag
religions and cultures from all o
Cultural media, such as classical
expressions of the religiosity of
inspiration for the continuous con
To conclude, once one starts quest
apparently natural categories, a c
new aspects and forms of the socia
and understand in academic setti
duce objective reflections of this
our horizons.
IV Perspectives on Sound, Mu
In the previous section, I have d

ings of the key concepts of sound,
of the most interesting phenomen
Now, I will go one step further an
objectives that could be covered by
of the art, many distinct areas of
music in relation to religion. Tak
cross-cultural perspective seriously
to approach sound and music ope
perspectives and suggest some pote
alog is not meant to be an exhaustiv
is open to further elaboration.
A Sounds
Starting with the common notion of music being a sou

rally, the sound itself is worth analyzing. Most tools a
analysis have been developed for Western musical s
matically applicable to music from other areas of th
To compensate for this deficit, Mark Hijleh (2012) rece
music theory focusing on perceivably universal and ve
cal parameters, such as time/rhythm, pitch, melody,
the musical process. Although I argue for a broader un
than just its sound, the structural and theoretical anal
METHOD AND THEORY IN THE STUDY OF RELIGION 27 (

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238 LAACK
different
of sound
B Texts
Remaining on familiar terrain, this analysis in

form an important component of many religious
the parts of music that are easiest for scholars tr
to analyze. This area of research covers all types o
cantillation, focusing as much on their cognitiv
sions in combination with the music as on their function within ritual and
liturgy or on the experiences and biographies of individuals. Seen from a his-
torical perspective, questions of transmission, censorship and canonization
arise. Furthermore, more abstract issues regarding commonalities and differ-
ences between sound, music and language as forms of expression might be
discussed.
C Instruments
The study of musical instruments is a classic field in the histor

in ethnomusicology. By itself, it constituted an important resea
science-oriented ethnomusicology of the 19th and early 20th
reflected in the many fine collections of foreign instruments in
cal museums. However, the religious symbolizations of instru
often been considered. In this field, the following questions
Why have certain instruments been forbidden in religious tradi
times even all instruments in distinction to the human voic
were preferred? Why is the sound of certain historical variants
preferred over that produced by their technically more adva
rary models (e.g., in the search for historical performance pract
Sebastian Bach's works)? How do these decisions relate to soci
Which instruments are significant markers for collective identi
pipe organ tends to be associated with Christian traditions) a
so? How do certain instruments, such as church bells, domina
What effect do certain instruments have on humans? How do re
tions and individuals use their knowledge of these effects?
D Performance
As a next step, the horizon is broadened to view aspects of musical perfor-
mance. Common approaches in music history and in the sociology and psychol-
ogy of music (Cook 2012) typically discuss under the heading "performance"
the interpretation of scored pieces of music, instrument playing techniques

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and strategies how to deal with per

ogy and ritual studies have devel
performance as a certain type of be
historical contexts. Performance, se
rial and socially and culturally hi
body an important role in the gene
E Efficacy
The efficacy of sound and music refers both to its effects on humans and to
religious theories about the effects of sound on supernatural beings or the cos-
mos. In addition to examining these theories and their respective practices,
psychological and anthropological methods could be applied to analyze how
sound and music trigger emotions, sensations and experiences. Which physi-
ological effects of which sound can be measured? In which situations and con-
texts do these effects occur, and which conditions must to be fulfilled? How do
religious practices and individual people intuitively or consciously use sound
to influence their bodies, their states of being and their emotions and moti-
vations? How are sound and music incorporated into rituals and combined
with other sensory stimulation? How does music structure ritual time and the
experience of time?
F Religious Concepts of Music

What types of myths and theories have been developed inside and outside
traditional religions about the origin of sound and music, their role in the cre-
ation of the cosmos and their role in human life and society? How is musical
creativity and inspiration explained: through artistic geniality, otherworldly
influence or divine inspiration? Is music seen as the language of the gods, the
audible expression of harmonically designed natural laws, the door to experi-
encing transcendence or a body technique to stimulate alternate states of con-
sciousness and open up the human mind toward the greater truth and beauty
underlying all creation?
G Evaluation Criteria
What types of debates do religious musicians and other discourse par

engage in regarding musical, ritual and religious professionalism
considered as high-quality religious music within certain traditio
criteria regarding quality have been developed in addition to or
technical aspects (such as how well one plays an instrument technical
questions of concentration, intention or purity of mind and bod
musical systems, styles and instruments evaluated by religious tradi

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240 LAACK
H Religi
A furthe
gious aes
sensory p
experienc
been give
of religio
learn fro
ing and it
I Sociological Aspects
We leave the focus of common understandings of the key concepts of sound
and music in ever increasing circles. Thus, we arrive at the multidimensional
relationships and equations of music and society and at traditional and not so
traditional sociological questions. How is the performance of religious music
socially organized (training, distribution, markets and technologies) and how
is musical practice embedded in social contexts? How is a musical star born
and kept shining? How are social facts reflected, mediated and constructed
in sound and music (gender roles, social spaces, such as the local and global,
personal and group identities)?
J Media Studies and Semiotics

In which cultural media contexts are religious sound and music embedded;
how are music and other media related to each other, which position is allo-
cated to sound in these arrangements? What is musical "meaning"? How is
"meaning" generated and contested in cultural media in general? Are there
commonalities and differences between music and other media? What is a
musical sign?
K Space
Sound and music can be related to space and place. How are soun
nized? What types of sociopolitical struggles are involved in the
of soundscapes? How is the experience of space influenced throu
music? How is ritual space designed through sound?
L History
The last point of my catalog of perspectives on sound, music and religion
to historical processes. All of the aspects mentioned above also have a his
cal dimension, which should be studied as well. In addition to micro-histo
questions, larger historiographical developments might be considere
METHOD AND THEORY IN THE STUDY OF RELIGION 27 (2015) 220-

134.184.119.81 on Thu, 16 Feb 2023 09:03:20 UTC
is religious change and continuity

Which intra- or extra-religious f
scapes and musical preferences,
styles influenced other aspects of
Let me conclude this short overvie

and music in relation to religion b
tial objectives for this research fie
answered in future research projec
is gained by expanding the traditio
this discussion might serve as an i
V Conclusion
Despite the fact that sound and music play such an important
in all its senses, they have not yet been studied thoroughly i
demic study of religion or in related disciplines. This article
bridging this gap by drawing a preliminary cartography of t
with the goal of serving as a sound methodological basis fo
Methodologically, I opted for a transdisciplinary perspecti
contributions from many disciplines within the humanities,
natural sciences. Epistemologically, I believe that a critical
rather than a phenomenological, theological or religious a
more potential for dialogue among the disciplines. After t
cal and epistemological discussions, I demonstrated how th
the research field - sound, music and religion - have often
in the history of research and how these common perception
us from noting some important developments, particular
contemporary religiosity. Finally, I discussed in more detail p
objectives as shaped by the many varying perspectives and in
eral academic disciplines. I will now conclude this essay by
answers to the following question: Why is the field of sound
gion an appealing research subject for the study of religion?
First, it is undeniable that there are many ways in which h
and use sound and music, and understanding these ways is im
understanding of religion in general and contemporary religi
lar. Within religious traditions, we find many uses and funct
in cosmological reflections and in ritual practices. Religiou
and symbols are prominent within all types of musical st
METHOD AND THEORY IN THE STUDY OF RELIGION 27 (2015) 2

134.184.119.81 on Thu, 16 Feb 2023 09:03:20 UTC
242 LAACK
including
native sp
and popu
modern
experienc
people ha
religious
ferences
used as b
vidual se
toward c
it is our
mechanisms.
Finally, there are intellectual reasons for pursuing the subject of sound,
music and religion, especially in a transdisciplinary manner. Transdisciplinary
research is stimulating for studies in the research field of sound, music and
religion, because it allows us to include many different perspectives on human
beings; it allows us to expand the traditional focus of studies of religion on
texts and verbal utterances through recognizing human beings as relying as
much on the intellect and cognition as on emotions and feelings, sensations
and the body. Furthermore, the being-in-the-world of humans is embedded
in concrete situations and broader contexts. Transdisciplinary research allows
us to combine micro- with macroperspectives on both the individual and on
society and culture; it also allows us to analyze the tension between individual
agency, collective restraints and historical legacies and between the aifordance
structure that the mediums of sound and music offer and the segmented his-
tory of their usage. Using this approach, we might reach a high level of com-
plexity in our theories reflecting the diversity and dynamics of human culture.
Finally, working in this field entails reflection on the fundamental issues of
methodology, epistemology and research interests and reflection on how to
understand and use terms and categories, how to compare and theorize and
how to address the issues of subjectivity and objectivity in science.
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