Sonic Liturgy
Ritual and Music in Hindu Tradition
Nonfiction, Religion & Spirituality, Eastern Religions, Hinduism
| Author: | Guy L. Beck, Frederick M. Denny | ISBN: | 9781611171082 |
| Publisher: | University of South Carolina Press | Publication: | December 12, 2012 |
| Imprint: | University of South Carolina Press | Language: | English |
| Author: | Guy L. Beck, Frederick M. Denny |
| ISBN: | 9781611171082 |
| Publisher: | University of South Carolina Press |
| Publication: | December 12, 2012 |
| Imprint: | University of South Carolina Press |
| Language: | English |
Sonic Liturgy: Ritual and Music in Hindu Tradition builds on the foundation of Guy L. Beck's earlier work, Sonic Theology: Hinduism and Sacred Sound, which described the theoretical role of sound in Hindu thought. Sonic Liturgy continues the discussion of sound into the realm of Hindu ritual and musical traditions of worship. Beginning with the chanting of the Sama-Veda alongside the fire sacrifices of the ancient Indo-Aryans and with the classical Gandharva music as outlined in the musicological texts of Bharata and Dattila, Beck establishes a historical foundation for an in-depth understanding of the role of music in the early Puja rituals and Indian theater, in the vernacular poetry of the Bhakti movements, in medieval temple worship of Siva and Vishnu in southern India, and later in the worship of Krishna in the northern Braj region. By surveying a multitude of worship traditions, and drawing upon diverse sources in both Sanskrit and vernacular languages, Beck reveals a continuous template of interwoven ritual and music in Hindu tradition that he terms "sonic liturgy," a structure of religious worship and experience that incorporates sound and music on many levels. In developing the concept and methods for understanding the phenomenon of sonic liturgy, Beck draws from liturgical studies and ritual studies, broadening the dimensions of each, as well as from recent work in the fields of Indian religion and music. As he maps the evolution of sonic liturgy in Hindu culture, Beck shows how, parallel to the development of religious ritual from ancient times to the present, there is a less understood progression of musical form, beginning with Vedic chants of two to three notes to complicated genres of devotional temple music employing ragas with up to a dozen notes. Sonic liturgy in its maturity is manifest as a complex interactive worship experience of the Vaishnava sects, presented here in Beck's final chapters.
Sonic Liturgy: Ritual and Music in Hindu Tradition builds on the foundation of Guy L. Beck's earlier work, Sonic Theology: Hinduism and Sacred Sound, which described the theoretical role of sound in Hindu thought. Sonic Liturgy continues the discussion of sound into the realm of Hindu ritual and musical traditions of worship. Beginning with the chanting of the Sama-Veda alongside the fire sacrifices of the ancient Indo-Aryans and with the classical Gandharva music as outlined in the musicological texts of Bharata and Dattila, Beck establishes a historical foundation for an in-depth understanding of the role of music in the early Puja rituals and Indian theater, in the vernacular poetry of the Bhakti movements, in medieval temple worship of Siva and Vishnu in southern India, and later in the worship of Krishna in the northern Braj region. By surveying a multitude of worship traditions, and drawing upon diverse sources in both Sanskrit and vernacular languages, Beck reveals a continuous template of interwoven ritual and music in Hindu tradition that he terms "sonic liturgy," a structure of religious worship and experience that incorporates sound and music on many levels. In developing the concept and methods for understanding the phenomenon of sonic liturgy, Beck draws from liturgical studies and ritual studies, broadening the dimensions of each, as well as from recent work in the fields of Indian religion and music. As he maps the evolution of sonic liturgy in Hindu culture, Beck shows how, parallel to the development of religious ritual from ancient times to the present, there is a less understood progression of musical form, beginning with Vedic chants of two to three notes to complicated genres of devotional temple music employing ragas with up to a dozen notes. Sonic liturgy in its maturity is manifest as a complex interactive worship experience of the Vaishnava sects, presented here in Beck's final chapters.
