Mashup Religion: Pop Music and Theological Invention

Notes

187 NOTES Preface 1 This CD is available through cdbaby.com and is entitled God in Music City. 2 The results of this are posted online at http://www.godinmusiccity.com. 3 For some of the published results of this project, see Ronald J. Allen, Hearing the Sermon: Relationship, Content, Feeling (St. Louis: Chalice Press, 2004); Interpreting the Gospel: An Introduction to Preaching (St. Louis: Chalice Press, 1998); “The Turn Toward the Listener: A Selective Review of a Recent Trend in Preaching,” Encounter 64 (2003): 165–94; John S. McClure, Ronald J. Allen, L. Susan Bond, Dan P. Moseley, and Lee G. Ramsey Jr., Listening to Listeners: Homiletical Case Studies (St. Louis: Chalice Press, 2004); Mary Alice Mulligan and Ronald J. Allen, Make the Word Come Alive (St. Louis: Chalice Press, 2005); Mary Alice Mulligan, Diane Turner-Sharazz, Dawn Ottoni Wilhelm, and Ronald J. Allen, Believing in Preaching: What Listeners Hear in Sermons (St. Louis: Chalice Press, 2005). Introduction 1 See Nicola Vicentino, Ancient Music Adapted to Modern Practice, ed. Claude V. Palisca, trans. Maria Rika Maniates (New Haven: Yale University Press, 1996); Matthew Gelbart, The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner, New Perspectives 188 — Notes to pp. 3–8 in Music History and Criticism 16 (Cambridge: Cambridge University Press, 2007). 2 See Jeff Howe, “The Rise of Crowdsourcing,” Wired, June 2006. 3 Leigh Eric Schmidt, Hearing Things: Religion, Illusion, and the American Enlightenment (Cambridge, Mass.: Harvard University Press, 2000). 4 Walter Ong, Orality and Literacy: The Technologizing of the Word (New York: Routledge, 1982); idem, The Presence of the Word: Some Prolegomena for Cultural and Religious History (New Haven:Yale University Press, 1967); Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man (Toronto: University of Toronto Press, 1967); Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press, 1984); Alain Corbin, Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside, trans. Martin Thom (New York: Columbia University Press, 1998); Julian Jaynes, The Origin of Consciousness in the Breakdown of the Bicameral Mind (Boston: Houghton Mifflin, 1976). 5 Schmidt, Hearing Things, 30. Schmidt identifies in the eighteenth and nineteenth centuries a shift in the way God speaks, away from the more orderly “communal call” to an “immediate call” in Evangelical and especially Wesleyan piety. 6 Schmidt, Hearing Things, 54. 7 Schmidt, Hearing Things, 11. 8 James W. Carey, “A Cultural Approach to Communication,” Communication 2, no. 2 (1975): 1–25; idem, Communication as Culture: Essays on Media and Society (Boston: Unwin Hyman, 1989). 9 Carey, Communication as Culture, 18–19. 10 Birgit Meyer and Jojada Verrips, “Aesthetics,” in Key Words in Religion, Media, and Culture, ed. David Morgan (New York: Routledge, 2008), 27. 11 Meyer and Verrips, “Aesthetics,” 27–28. 12 Jeremy Stolow, “Technology,” in Morgan, Key Words in Religion, Media, and Culture, 189. 13 Dorothea E. Schulz, “Soundscape,” in Morgan, Key Words in Religion, Media, and Culture, 178. 14 Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature (New York: Columbia University Press, 1993), 76–77. 15 Walter Benjamin,“The Work of Art in the Age of Mechanical Reproduction ,” in Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1969). 16 Theodor W. Adorno, The Culture Industry: Selected Essays on Mass Culture , ed. J. M. Bernstein (New York: Routledge, 2001). 17 Kelton Cobb, The Blackwell Guide to Theology and Popular Culture (Malden , Mass.: Blackwell, 2005); Keith Negus, Popular Music in Theory: An Introduction (Middletown: Wesleyan University Press, 1996); Gordon Notes to pp. 8–14 — 189 Lynch, Understanding Theology and Popular Culture (New York: Blackwell , 2005); Stuart Borthwick and Ron Moy, Popular Music Genres (New York: Routledge, 2004); Simon Frith and Andrew Goodwin, eds., On Record: Rock, Pop, and the Written Word (New York: Routledge, 1990); Michael J. Gilmour, Call Me Seeker: Listening to Religion in Popular Music (New York: Continuum, 2005); Hanno Hardt, Myths for the Masses (London: Blackwell, 2004); Colin Larkin, ed., The Encyclopedia of Popular Music. 5th ed. (London: Muze UK, 2007); Diane Pecknold, The Selling Sound: The Rise of the Country Music Industry (Durham: Duke University Press, 2007); Thomas Turino, Music as Social Self: The Politics of Participation (Chicago: University of Chicago Press, 2008). 18 See R. Serge Denisoff and William L. Schurk, Tarnished Gold: The Record Industry Revisited (New Brunswick, N.J.:Transaction Publishers, 1997), 31. 19 Lynch, Understanding Theology and Popular Culture, 14. 20 Randal...