Musical Religiosity

In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the...
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Autor*in:	Martin Hoondert [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2015

Schlagwörter:	Music Religion Transcendence Experience

Übergeordnetes Werk:	In: Temenos - Finnish Society for the Study of Religion, 2018, 51(2015), 1
Übergeordnetes Werk:	volume:51 ; year:2015 ; number:1

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

DOI / URN:	10.33356/temenos.48554

Katalog-ID:	DOAJ050775235

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allfields	10.33356/temenos.48554 doi (DE-627)DOAJ050775235 (DE-599)DOAJ99b4b6fda04749fba1df432774d87645 DE-627 ger DE-627 rakwb eng BL1-50 Martin Hoondert verfasserin aut Musical Religiosity 2015 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the tonal network, and the non-referential nature of music. These qualities are linked to the definition of ‘the religious’ by John Dewey. The main conclusion is that an analogy can be shown between the musical and the religious experience: both composers and musicians challenge the listeners to explore the hidden religiosity in the performance of music. Music Religion Transcendence Experience Religion (General) In Temenos Finnish Society for the Study of Religion, 2018 51(2015), 1 (DE-627)813203716 (DE-600)2804564-6 23427256 nnns volume:51 year:2015 number:1 https://doi.org/10.33356/temenos.48554 kostenfrei https://doaj.org/article/99b4b6fda04749fba1df432774d87645 kostenfrei https://journal.fi/temenos/article/view/48554 kostenfrei https://doaj.org/toc/2342-7256 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ SSG-OLC-PHA GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2036 GBV_ILN_2446 GBV_ILN_4012 GBV_ILN_4035 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4367 GBV_ILN_4700 AR 51 2015 1
spelling	10.33356/temenos.48554 doi (DE-627)DOAJ050775235 (DE-599)DOAJ99b4b6fda04749fba1df432774d87645 DE-627 ger DE-627 rakwb eng BL1-50 Martin Hoondert verfasserin aut Musical Religiosity 2015 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the tonal network, and the non-referential nature of music. These qualities are linked to the definition of ‘the religious’ by John Dewey. The main conclusion is that an analogy can be shown between the musical and the religious experience: both composers and musicians challenge the listeners to explore the hidden religiosity in the performance of music. Music Religion Transcendence Experience Religion (General) In Temenos Finnish Society for the Study of Religion, 2018 51(2015), 1 (DE-627)813203716 (DE-600)2804564-6 23427256 nnns volume:51 year:2015 number:1 https://doi.org/10.33356/temenos.48554 kostenfrei https://doaj.org/article/99b4b6fda04749fba1df432774d87645 kostenfrei https://journal.fi/temenos/article/view/48554 kostenfrei https://doaj.org/toc/2342-7256 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ SSG-OLC-PHA GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2036 GBV_ILN_2446 GBV_ILN_4012 GBV_ILN_4035 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4367 GBV_ILN_4700 AR 51 2015 1
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callnumber-first	B - Philosophy, Psychology, Religion
author	Martin Hoondert
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title	Musical Religiosity
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title_full	Musical Religiosity
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title_auth	Musical Religiosity
abstract	In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the tonal network, and the non-referential nature of music. These qualities are linked to the definition of ‘the religious’ by John Dewey. The main conclusion is that an analogy can be shown between the musical and the religious experience: both composers and musicians challenge the listeners to explore the hidden religiosity in the performance of music.
abstractGer	In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the tonal network, and the non-referential nature of music. These qualities are linked to the definition of ‘the religious’ by John Dewey. The main conclusion is that an analogy can be shown between the musical and the religious experience: both composers and musicians challenge the listeners to explore the hidden religiosity in the performance of music.
abstract_unstemmed	In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the tonal network, and the non-referential nature of music. These qualities are linked to the definition of ‘the religious’ by John Dewey. The main conclusion is that an analogy can be shown between the musical and the religious experience: both composers and musicians challenge the listeners to explore the hidden religiosity in the performance of music.
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title_short	Musical Religiosity
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