Trinity College Faculty of Divinity in the Toronto School of Theology THE CONTENT OF THIS DESCRIPTION IS NOT A LEARNING CONTRACT AND THE INSTRUCTOR IS NOT BOUND TO IT. IT IS OFFERED IN GOOD FAITH AND INTENDED AS A HELPFUL GUIDE TO THE STUDENT. =============================================================================== TITLE: TRT 2875H Music in World Religions PROFESSOR: Hyun-Ah Kim COURSE DESCRIPTION: This course explores world religions through music, one of the most universal features of human life. It will focus on the various traditions and phenomena of religious music in comparative perspective, and examine the way in which music reflects the religious tenets and has been used as a means of interacting with the divine. Covering seven of the major religions Judaism, Christianity, Islam, Hinduism, Sikhism, Buddhism and Confucianism, it will observe the uniqueness of each musical tradition and the universal characteristic of religious music as a socio-cultural entity, and furthermore will examine the musical practices of Shamanism which represent the most ancient and widespread system of mind-body healing known to humanity. The course will use interdisciplinary methodologies including theological and anthropological studies of music. COURSE OUTCOMES: Students successfully completing this course will be able to: 1) Understand the religious function of music in comparative perspective 2) Account for the critical role of musical activity in religious life, in terms of meditation, healing, prayer, and education 3) Explain the elementary forms and patterns of religious music PREREQUISITES: None TEXTS: G. L. Beck, ed. Experiencing Music in World Religions (Waterloo, ON: Wilfrid Laurier Univ. Press, 2006). L. E. Sullivan, ed. Enchanting Powers: Music in the World s Religions (Cambridge, Mass.: Harvard Univ. Press, 1997). WRITTEN & ORAL ASSIGNMENTS/TESTS: Weekly readings/class discussion/class preparation/short and major papers CLASSROOM PROCEDURES: Lectures, seminars, music listening, student presentations
GRADING PROCEDURES: Class participation (regular attendance at the lectures, weekly readings and discussions ) 20% Short paper 20% Student presentation 20% Major paper 40% ATTENDANCE: Expected ACADEMIC INTEGRITY: All TST students are subject to U of T s Code of Behaviour on Academic Matters. Copies of the code are available at <www.governingcouncil.utoronto.ca/policies/behaveac.htm>. Please take special note of the section on plagiarism. For a helpful set of guidelines on how to avoid plagiarism, see <www.writing.utoronto.ca/advice/using-sources/how-not-to-plagiarize>. This is part of a more general and equally helpful website that provides advice on academic writing (<http://www.writing.utoronto.ca/advice>). PROGRAM OUTCOMES: COURSE OUTCOMES: KNOWLEDGE OF THE AREA OF CONCENTRATION COURSE ELEMENT PROGRAM OUTCOMES Students successfully completing this course will be able to: Understand the religious function of music in comparative perspective This outcome will be achieved through these course elements: lectures This course outcome corresponds to this aspect of the Basic Degree Learning Outcomes Religious heritage Cultural context Explain the elementary forms and patterns of religious music music listening seminars lectures Religious heritage Cultural context
Account for the critical role of musical activity in religious life, in terms of meditation, healing, prayer, and education weekly readings Personal well-being, vocational formation, and spiritual practices COURSE OUTCOMES: ABILITY WITH SCHOLARLY TOOLS AND SKILLS COURSE ELEMENT PROGRAM OUTCOMES 1. Depth and Breadth of Knowledge 2. Research and Scholarship 3. Level of Application of Knowledge An interdisciplinary understanding of religious music Intensive research on one of the religious musical traditions the use of a library and the construction of a bibliography the making of informed judgments on basic issues relevant to the course 4. Professional capacity/autonomy 5. Level of communication skills the construction of a logical argument the use of standard conventions of style for scholarly writing the choice of methodologies clear and effective communication in both oral and written forms
6. Awareness of limits of knowledge realization of importance of the subject and motivation for engaging in further specialized research SELECT BIBLIOGRAPHY: Attridge, H. & Fassler, M., eds. Psalms in Community: Jewish and Christian Textual, Liturgical, and Artistic Traditions (Atlanta, GA: Society of Biblical Literature, 2003). Beck, G. L., Sonic Theology: Hinduism and Sacred Sound (Columbia, S.C.: University of South Carolina Press, 1993). Bisht., K., The Sacred Symphony: A Study of Buddhistic and Vaishnav Music of Bengal in relation to Hindustani Classical Music (Ghaziabad: Bhagirath Sewa Sansthan, 1986) Gardner Rust, E., The Music and Dance of the World s Religions: A Comprehensive, Annotated Bibliography of Materials in the English Language (Westport, Conn.: Greenwood Press, 1996). Goswani, S. and Thielemann, S., Music and Fine Arts in the Devotional Traditions of India: Worship through Beauty (New Delhi : A.P.H., 2005). Guzy, L., ed. Religion and Music: Proceedings of the Interdisciplinary Workshop at the Institute for Scientific Studies of Religions, Freie Universität Berlin, May 2006 (Berlin: Weissensee Verlag, 2008). Harris, D., Music Education and Muslims (Sterling, VA: Trentham Books, 2006). Hoffman, L. & Walton, J., eds. Sacred Sound and Social Change: Liturgical Music in Jewish and Christian Experience (Notre Dame: University of Notre Dame Press, 1992). Irwin, J., ed. Sacred Sound: Music in Religious Thought and Practice (Chico, Cal.: Scholars Press, 1983). Marini, S., Sacred Song in America: Religion, Music, and Public Culture (Urbana, Ill.: University of Illinois Press, 2003). Mills, S., Healing Rhythms: the World of South Korea s East Coast Hereditary Shamans (Aldershot: Ashgate, 2007). Moody, I., Contemporary Music and Religion (Reading, UK: Harwood Academic Pub., 1995). Nettl, B. et al., The Garland Encyclopedia of World Music (New York: Garland Pub.: 1998-2002). Pedelty, M., Musical Ritual in Mexico City: from the Aztec to NAFTA (Austin: University of Texas Press, 2004). Ralls-Macleod, K. and Harvey, G., eds. Indigenous Religious Musics (Aldershot: Ashgate, 2000). Reed. T. L., The Holy Profane: Religion in Black Popular Music (Lexington, Ky.: University Press of Kentucky, 2003). Scheidegger, D. A., Tibetan Ritual Music: A General Survey with Special References to the Mindroling Tradition (Rikon: Tibet Institut, 1988). Solway, A., World of Music: Latin America and the Caribbean (Chicago, Ill.: Heinemann Library, 2007). Song, H., Confucian Ritual Music of Korea: Tribute to Confucius and Royal Ancestors (Seoul: Korea Foundation, 2008). Spencer, J., Protest & Praise: Sacred Music of Black Religion (Minneapolis: Fortress Press, 1990). Summit, J., The Lord's Song in a Strange Land: Music and Identity in Contemporary Jewish Worship. (New York: Oxford University Press, 2000). Tarlekar, G. H, Vedic Music and Its Application in Rituals Delhi (Dharam Hinduja International Centre of Indic Research: Nag Publishers, 1995). Tomlinson, G., The Singing of the New World: Indigenous Voice in the Era of European Contact (Cambridge: Cambridge University Press, 2007). Werner, E., The Sacred Bridge: The Interdependence of Liturgy and Music in Synagogue and Church during the First Millennium. 2 vols. (New York: Columbia University Press, 1959).
COURSE OUTLINE: Class 1: Class 2: Class 3: Class 4: Class 5: Class 6: Class 7: Class 8: Class 9: Class 10: Class 11: Class 12: Introduction to the Course/ Music and Religion Music in Judaism (I) Music in Judaism (II) Music in Christianity (I) Music in Christianity (II) Music in Islam Music in Hinduism Music in Sikhism Music in Buddhism Music in Confucianism Music in Shamanism (I) Music in Shamanism (II)