Introduction
Since the dawn of time, music has served as man’s primary means of communication with his deities. There are two opposing extremes in how people see the origins of religion and music: either they believe in a reality that is basic and independent of the observer, or they deny the independence of either. Both points of view address the issue, did music and religion exist before we discovered them, or did they exist all along, whether we recognized it or not? Music, in all of its forms, has always existed alongside each other, affecting how humans connect and mould society. Different ethnic groups employ music universals in different ways to represent ideals that are particularly important in their culture. Music is produced within a certain culture’s value context, and hence music represents those values.
Discussion
Music, dance, songs, and tales have influenced civilizations and communities all across the world, and they have been passed from one generation to the next. They can modify one’s attitude, perception and motivate change. While everyone has a personal relationship with music, dancing, songs, and stories, the influences on their culture is not always obvious. They are a fundamental component of all human civilizations and can alter society emotionally, ethically, and culturally. When individuals from different cultures exchange music or tales, they acquire vital insight into another way of life. Musical behaviors are common among human societies while still being quite different in terms of form, role, and cultural understanding.
The relationship between culture and music exists in all societies in the world. Over the years, researchers have observed this essential association, notably in the field of ethnomusicology (Barton, 2018). In certain African faiths, the afterlife is not seen as being distinct from our current existence. The visible world in which we live is blended with the world of spirits and ancestors, who have a significant effect on the fortunes and fates of individuals in this world. The prosperity and fortune of this life are dependent on establishing a positive relationship with and contact with the spirit realm. In the face of misfortune, ceremonies and rituals are undertaken to connect with the spirit world to determine the origin of the ailment and pacify the spirit in question. Trance and possession are two key components in African religious practice that are commonly used to gain communication with the spirit realm. Trance and possession can be achieved by music and dancing in religious rites (Turner, 2020). Music influences how society displays its views of divinity and interacts with the spirit realm.
The effectiveness of many healing or possession rituals hinges on the music and how effectively it is played, influencing whether or not an individual will go into trance and get possessed. The Shona people of Zimbabwe hold a ceremony called bira to highlight seasonal changes or misfortune, the reason of which is attributed to an ancestor spirit who is drawing attention to a personal or social problem, or who desires to possess the individual (as is commonly the case in the event of disease) (Perman, 2020). The bira’s music both throws the medium into a trance and summons the ancestor to come down and possess him or her. Its music is said to be a conduit between this world and the realm of spirits.
One aspect of the music-religion connection is the transcending connection, in which music is considered one of the most common triggers of religious experience, and music is already mentioned as a primary medium to induce deep emotions and mystical states, such as the feeling of oneness with a supernatural deity, losing track of time, and sensations of holiness (Demmrich, 2018). Because of its ethnomusicological cultural practices, music, dance, storytelling, and songs play an important part in developing diverse cultures and religions. In these cultures, music is used as the conduit to communicate with their deities; therefore, music helps to develop the beliefs of a society.
Festivals honoring various manifestations of the goddess Devi are held throughout the Indian and Nepalese Himalayan regions. Aspects of ceremonial activities designed to worship the goddess include drumming, dancing, processions, singing, and possession. The festival’s music and activities demonstrate how ethnomusicology is both a holy essence and a utilitarian element in worship (Alter, 2019). While music is important in many global religions, one of the strongest links between music and religious experience may be found in Hinduism. According to Beck (2019), Indian music known as Sangita is divine in origin and is intimately associated with Hindu gods and goddesses. Even one of their deities, Sarasvati, is shown with the Vina instrument in hand and is considered the holy patron deity of music by Hindus. Music, dance, and singing at festivals are vivid portrayals of how they impact the growth of their community and religion in Indian culture.
Every culture develops and passes stories, music, dances, and songs, and the creation of myths is an essential aspect of human creativity. Folklore, tall tales, and myths all offer valuable perspectives on how individuals view and consider their circumstances. These tales frequently survive as carriers of important cultural values even when civilization no longer accepts its myths as true explanations. They also aid in the development of religious beliefs. Around the world, societies develop and employ music, dance, songs, and stories to influence and perceive reality, produce works of meaning and significance, whether they are religious or secular, and engage the creative process in numerous ways. Ethnomusicology, dance, and tales are all vital components in the development of a culture and its religion. Music, dances, stories, and songs in religious beliefs formation are essential aspects of cultural formation for any society.
Conclusion
Religions have evolved significantly since their beginnings. The linked musical traditions are representative of the diverse religious musical activities. Even within the same religious traditions, distinct musical practices from throughout the world exist. Regardless of their diversity, musical activities have become an essential component of religion and hold enormous significance in people’s religious lives. It provides a secure environment for people to connect with their inner ideas in ways that words cannot. Cultures in Zimbabwe adopt music to express their devotion to their god and to join in worship rituals to thank their religious deity for giving a good harvest or hunting season. One goal of music in religion is to enhance the effects of the words and lyrics that people sing. Music in religion generates distinct meanings and holy messages that might impact people’s normative actions. People can build a feeling of moral and religious values through learning and singing religious music. The influence that music, dancing, stories, and songs have on how societies develop their religions is immense and cannot be overlooked.
References
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Barton, G. (2018). The relationship between music, culture, and society: Meaning in music. In: G. Barton (Eds.), Music Learning and Teaching in Culturally and Socially Diverse Contexts (pp. 23-41). Palgrave Macmillan. Web.
Beck, G. (2019). Sacred music and Hindu religious experience: From ancient roots to the modern classical tradition. Religions, 10(2), 85. Web.
Demmrich, S. (2018). Music as a trigger of religious experience: What role does culture play?Psychology of Music, 48(1), 35–49. Web.
Perman, T. (2020). Musical meaning and indexicality in the analysis of ceremonial mbira music.Semiotica, 2020(236–237), 55–83. Web.
Turner, T. D. (2020). Music and trance as methods for engaging with suffering. Ethos, 48(1), 74–92. Web.