Relationship between Music and religion (SHEETS, CHORDS, emotions and how music contributes to the ritual. Musicians who play religious music should know these aspects of their history, since music and religion in their rituals promote emotions sometimes more with experience corporal, sometimes more with the contemplative attitude The body and the movement, the stillness or appeasement This music You can handle it coherently from the chords that you use depending on the religious moment.
Hello, my name is Luis Carlos Moreno this is AulaMusical. Musicians often see ourselves making arrangements for religious institutions. I am going to share some guidelines in this video that can give you deep analysis elements when deciding what kind of arrangements you are going to implement, what kind of intentionality you are going to instill in the arrangement.
I will tell you this regardless of whether you know music or not. I will talk to you about elements that I have learned during the different moments of my life. I learned to play the organ when I was 14 years old, in a church. In the town where I grew up and musically in Gómez Plata and later, I have explored in different churches and different religious practices. All of them have something in common and also some elements that make them very particular. But ultimately, they all remind us of that primitive being in the caves, with that ritual situation that only has two options,
- Shake the body through dance and movement: Imagine a primitive being, in the caves, at that time where the only thing you had access to was your own body, your own movement. Later this was developed by building rattle bells, with manipulable percussive elements. In this way dance, movement, body agitation begins to be one of the paths for the elaboration of rituals. There is also the second way:
- Invoke physical and mental stillness: It is very contemplative, very pause, very simplicity, very observing. In this way the sounds of nature, the running of the water in the stream, the singing of the birds, can be a way of connecting us with that religious experience, our spiritual experience.
Regardless of what idea you have about what religion is or what spirituality is, or what is the concept you have about the idea of a higher being, these elements that I am mentioning in this video may be of importance to you for you to consider if you are going to play a single note. Example OM! As with Tibetan monks …
I’m talking about things that can happen in the same way in Asia, in Europe, in South America, in Africa. Places where musical practice can be reduced only to the interpretation of a sound. A sound for long periods of time, seeking the quieting of thoughts. Thoughts, generally, are what help us to make great decisions, to undertake great projects. But they are also responsible for worry stress anxiety. It is considered that the connection with this spiritual idea is related to peace, tranquility, and there are two ways to obtain it: a) with dance, with body agitation, or b) with quieting, simplicity, minimalism. After the unison comes the interpretation of two notes at once in intervals. We already know that Gregorian chant in its beginnings was related to certain intervals, which were considered at that time, those that had the most idea of connection and perfection with that aesthetic conception of the moment.
This evolved, the intervals were changing, some were no longer the appropriate intervals, but others became the most used. Until the triad is reached which is the perfect chord. Then the option of harmonic links also happens. Harmonic bonds are considered this way because they preserve common notes, those of a chord with those of the chord that follows. Very subtle changes. In this way, the idea of spirituality is also associated with that idea of perfection in the music that is being performed.
A series of guidelines were developed that became a guide for the academy. In this way the perfect I – V – I chords with that feeling of a tension very well managed and very carefully approached that returns to the chords of rest. From there a step is taken with which this perfection has to make a kind of reconciliation or connection with the music that was happening outside the temple. It is already considered that the music did not only have to be perfect, but that it also had to have that hook to attract new parishioners to the rituals. This is sought through that the music that was interpreted inside the temples was very similar to the music that was happening outside. That is to say, that battle that was initially where there was a very big divorce between the “spiritual” and the “profane” (profane what happened outside the spiritual temple what happened inside the temple) is broken.
Music begins to be involved, inside the temple, very close to the standards of what happens on the street. In that way the music you are seeing today in the temples is very influenced by jazz. There the two purposes are merging: intervals that agitate mentally, intervals that promote movement, body dance through Afro jazz cadences, ii – V7 – I, constant modulations, music that generates activity, music that generates movement. If you are making music that way then I hope I am doing it intentionally, but when you are promoting music that what you are trying to do is quiet thoughts, then check to see if you are being mindful with the chord links.
This is what I wanted to share with you today. I hope it has been very useful to you. My name is Luis Carlos Morenos This channel is AulaMusical and remember to RECOMMEND this content to someone you think may be of interest to them. Always activate the bell. Support me with your comments that are very important to continue publishing information similar to this. I do this type of publication and I want to know how is the impression you have about it so leave it in the comments. A hug and see you in the next episode.
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