Introduction to Special Issue, Music in World Religions: A Response to Isabel Laack

This article serves to introduce a special issue of Religions, titled Music in World Religions. A 2015 article by religion scholar Isabel Laack claimed that the study of music and religion has been neglected by Laack’s peers in the field of religions. Responding to Laack, I argue that scholars of music have been making important contributions to the study of music and religion and, indeed, have been addressing the twelve specific topics she highlights for decades. After summarizing academic works which respond to Laack’s twelve categories of inquiry, I introduce each of the articles in this special issue, showing that each of these also address the gap in the literature that Laack perceived. Ultimately, I argue that transdisciplinarity in the study of music and religion is alive and well, and is exemplified both by historic writings and by those contained in Music in World Religions.

'Os Capitães da Areia' e a coragem dos Erês: Notas sobre o imbricamento da arte, música e religião | 'Os Capitães da Areia' and the courage of the Erês: notes on the overlap of art, music and religion

ResumoAs práticas culturais fundem, a todo o momento, diferentes relações entre sistemas culturais (EVEN-ZOHAR, 1990) que antes eram separados. Tais manifestações híbridas reconfiguram e desterritorializam processos simbólicos. Nesse sentido, o presente artigo realiza uma análise comparatista das relações intertextuais presentes na configuração artística do álbum Esú, do rapper brasileiro Baco Exu do Blues, em especial na faixa “Capitães de Areia” em relação ao romance quase homônimo de Jorge Amado, às referências à mitologia dos Erês, e à série fotográfica Laróyè, de Mario Cravo Neto. Para analisar as implicações dessas inter-relações na configuração cultural e identitária da obra, buscamos aporte teórico-crítico no campo dos Estudos Culturais pela perspectiva de conceitos que tentam dar conta desses processos, acerca do Hibridismo, em Néstor García Canclini, e das reflexões sobre sincretismo religioso em Sérgio Ferretti.Palavras-chave: Capitães da Areia; Hibridismo; sincretismo religioso; práticas culturais. AbstractCultural practices merge, at all times, different relationships with cultural systems (EVENN-ZOHAR, 1991) that were previously separated. Such hybrid manifestations reconfigure and deterritorialize symbolic processes. In this sense, this article performs a comparative analysis of the intertextual relations present in the artistic configuration of the album Esú, by rapper Baco Exu do Blues, especially the track “Capitães de Areia” and references to the mythology of the Erês, to the novel by Jorge Amado and Laróyè photographic series by Mario Cravo Neto. To analyze the implications of these interrelations in the cultural and identity configuration of the work, we seek theoretical-critical support in the field of Cultural Studies from the perspective of concepts that try to account for these processes, about Hybridism in Néstor García Canclini and reflections on religious syncretism in Sérgio Ferreti.Keywords: Capitães da Areia; Hybridity; religious syncretism; cultural practices.

Music and Religion in American Public Life

Music in American public life is best understood not simply as the formal arrangement of religious texts in sound but as a fluid arena of exchange between performers, participants, and audiences. In these exchanges we note the transformation of religious traditions themselves, as they navigate contact with their others and the challenges of public life or secularism; we also see the emergence of American religious musics as alternate publics themselves, in which new understandings of authority, tradition, and identity are negotiated. What is more, in recent decades American genre music—from jazz to hip-hop—has become a steady arena in which new forms of religiosity are proposed and debated.