Abstract
As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e., Brahmā, Vishnu, and Śiva), associated with ‘musical angels,’ and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).
Highlights
One does not need to venture far to realize that many of the most renowned and prolific composers of both sacred and classical music (i.e., Schutz, Buxtehude, Pachelbel, Telemann, Bach, Handel, Mendelssohn, Brahms) were Lutheran or inspired by Luther’s theological position on the divine origin of music. Another poignant theme relating to theology of music in the West is the presence of musical angels in heaven and at the time of creation
We find music as Divine Gift as well as musical angels who populate heaven and the spiritual realm
After discussing some of the Vedic and Hindu concepts and practices relative to sacred sound and music in India, we have demonstrated the continuing reverence for the sacred concepts of OM and Nāda-Brahman and the narratives of music as Divine Gift within the traditions of Indian classical music and especially as contained in the songs of the current
Summary
When Alfred Pike wrote A Theology of Music as his doctoral thesis in music at the Philadelphia Conservatory of Music in 1953, he was noted as one of the first modern scholars to present a coherent ‘theology of music.’ In this work, Pike (1953, p. 80) describes how music is embedded in ancient beliefs of divine origin and in practices of ritual and worship: “Archaeology has unearthed evidence that earliest man used music in religious ritual and worship. One does not need to venture far to realize that many of the most renowned and prolific composers of both sacred and classical music (i.e., Schutz, Buxtehude, Pachelbel, Telemann, Bach, Handel, Mendelssohn, Brahms) were Lutheran or inspired by Luther’s theological position on the divine origin of music Another poignant theme relating to theology of music in the West is the presence of musical angels in heaven and at the time of creation. 40–41) describes how the development of Western classical music and Christian theology paralleled the spiritual notions of heavenly angels and divine beings: “By the eleventh century, the various traditions of cosmic and angelic orders had merged, and the vision had assumed an aspect familiar today: the blessed sing and dance in the highest heaven, be it Elysium or Empyrean. They appear in Hindu temple sculptures as the seductive Gandharvas, of whom the Mahābhārata has much to tell.”
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