Influence of Music in the Major Religions of Asia

Influence of Music in the Major Religions of Asia Free Online Research Papers â€Å"Music gives us the capacity to express the deepest feelings of the human soul.† Worldwide, music has an important and varied range of application in religious practice. In the major religions of Asia, music is an especially vital part of theology and worship. In India and China, the most prominent religions are Hinduism, Daoism and Buddhism. Hindu religious chant and music are firmly rooted in theological principles of sacred sound. Taoist music is commonly used in the form of simple melodies and peaceful songs to aid in recitations and rituals. In Buddhism, sutras sung as hymns and other songs praising the virtues of the Buddhas have attracted and helped purify the hearts of countless disciples. With such large sects of the continent being members of these religions, it can be determined that music is used in worship and religious settings may affect the way music is played and listened to in the secular world. What does each religion bring to the table in its influence on the music of Asia? Hinduism is the major religion in India. Hindus make up approximately 85 % of the population in India. In Hinduism, music is recognized as a divine art that awards all four aims of human life to both the performer and the listener. These four aims are dharma, artha, Kama, and moksha. Dharma is the aim of righteousness. Artha is the aim of wealth and prosperity. Kama is the aim of enjoyment and moksha is liberation of the ways of the world. Music in Hinduism, from the earliest times was a source of not only moral but also spiritual achievement. The process of learning to play music is comparable to traditional Hindu spiritual discipline. There are 3 key elements to spiritual discipline that relate to music. First is the guru or disciple succession, meaning that one becomes a disciple of what he is learning. Second is vinaya or humility. Third is regular and disciplined practice. Hindu music is called sangeet and is associated with heavenly singers called Ghandharvas. The oldest Hindu musical texts were called Sana Veda, which had melodies that were used to in reciting hymns. Today music in Hindu worship consists of bhajan (hymns) and kirtan (chanting of mantras). Instruments used commonly in Hindu worship are drums (tabla and mridangas), the manjira (small hand cymbals), and the harmonium. Flute, vina, and sitar are also used in worship music. Predominantly, music heard on radios in India is â€Å"cine music†, or Indian pop music. A majority of these songs are from hit movies, and most movies in India are musicals. Songs from these musicals are a bizarre blend of eastern and western music. Characteristically, they involve choppy, hyperactive melodies, built around oriental scales, with a nasal singer. The rhythms sometimes are Latin, and the accompaniment can include trap set, organs, guitars, violins, bongos, traditional sitar and tabla, bamboo flute, and xylophones. Folk musicians and street performers play music that can be traditional folk music, like snake charmers using punjis or a gourd and reed bagpipe, or, it can have a slight western influence, using western instruments and ideas. Generally, all other music is connected with forms of worship. Seemingly, Indian music for worship and popular music doesn’t overlap. Principally, Hindu beliefs disagree with some forms of modern and popular music, esp ecially where western music is concerned. Daoism, or Taoism, is commonly practiced in China, and usually, if one is not Buddhist, then he is likely to be Taoist. Music in Daoism is said to reflect the pursuit of longevity and noninterference, which are two important principles of the Taoist belief. Melodies are solemn and peaceful, as well as seclusive and serene, as to exaggerate the religious atmosphere. Mostly Taoist music is calming and sets the mood and mindset for worship. Each day there are drum calls for morning and evening rituals. Music that is performed in both the morning and evening ritual is called pure and clear tune. It is performed to accompany recitation of scriptures. Its purpose is to purify the mind in preparation for cultivation of the scriptures. Other than everyday ritual, music is primarily used in Taoist worship for the praise of immortals and gods, praying for the blessing of the gods, releasing purgatory of the departed and practicing ascetics. Taoist music has undergone much change over the centuries. Music in Daoism was first utilized in the Southern and Northern Dynasties of China (420-589 CE). Original percussion used in worship included an L-shaped musical stone, bells, and drums. By the Five Dynasties period (907-1279 CE), wind and plucked instruments were added to the mix. During the Song Dynasty (960-1279 CE) string music was added to worship. With the Qing Dynasty (1368-1644 CE), Taoist music was standardized by imperial orders. Generally Taoist music today consists of two parts: vocal music and instrumental music. Vocal music can include vocal solos as well as unison singing. Instrumental music includes solo instruments as well as group playing. Both vocal and instrumental music is used as accompaniment to recitations as well as rituals and calls to worship. Buddhism is the largest religious sect of not only China but a large number of India’s population also practices Buddhism. Music is a large part of Buddhist teaching. In the Amitabha Sutra, nature sings its own melodies and harmonies with the breeze, and heavenly singing and chanting can be heard day and night. Buddhists believe that when one hears these sounds they become mindful of the Buddha, the Dharma, and the Sangha. In Buddhism, sutras are sing as hymns and other songs are sung to praise the virtues of the Buddhas. Seemingly these songs have brought forth and purified many disciples of the Buddha. Buddhist believe that beautiful music will soften people’s hearts and in return, their minds are more receptive and easier to educate and transform. Therefore, music has been brought forth as a type of ceremonial offering made to the Buddha. Also, music is used in various forms for ceremonies including weddings and funerals. Buddhist music has undergone much development as it spread throughout Asia. From earliest times in India, Buddhist music began to include copper gongs, drums, flutes, conch horns and harps in its ceremonial music. When Buddhism was first introduced in China, focus was mainly on the translation between languages. This hindered the use of traditional hymns of India Buddhism. Consequently, monastics recomposed and adapted folk songs and court songs for royalty to create a Chinese Buddhist musical tradition. Today, traditional Buddhist hymns are performed alongside traditional Chinese music, as well as popular and western types of music like orchestras and small ensembles. China is the most populous country on the Earth with 1.3 billion people. For most of its history, China has been ruled by dynasties. Music has been regarded as an important part of political life, as it can be used to reflect and influence their ideals on Chinese order. When China came under the Nationalist Party, music was a key component of the reformation of Chinese social and cultural life. Mostly China has a kept a clear line between yayue, which is refined and elegant art music of the court and rituals, and suyue, common entertainment and folk music. Religious music, however, has proponents of each type of music, which makes it a common bond between the two aspects of Chinese music. Generally religious music does not affect the way mainstream music is played and listened to. Rather, the Buddhists and Taoists use influences of modern and mainstream music in their religious practice and rituals to attract and appeal new believers. Venerable Master Taixu of the Buddhist religion once said â€Å"Music gives the people of a society a means by which they can better communicate their moods and feelings with each other†¦For society to achieve some degree of integration, it is essential to be able to communicate and understand each other’s moods and feelings and as a result establish a sense of unity. This is one of the important functions of music.† Music today, either in religious or secular settings, undoubtedly influences the way people live their lives in Asia. Many achieve a balance between music of both worlds and, in return, reap the benefits of entertainment and spiritual comforts. Music is an important means by which Indian and Chinese peoples convey thoughts, beliefs, principles and feelings. Master Taixu also said â€Å"The capacity of music to capture people’s attention, touch then deeply, and tug at their heartstrings makes it one of the most beautiful forms of human expressions.† Research Papers on Influence of Music in the Major Religions of AsiaHip-Hop is ArtWhere Wild and West MeetCanaanite Influence on the Early Israelite ReligionPETSTEL analysis of IndiaAnalysis Of A Cosmetics AdvertisementGenetic EngineeringRelationship between Media Coverage and Social andMoral and Ethical Issues in Hiring New EmployeesThe Masque of the Red Death Room meaningsBringing Democracy to Africa

Biography of William Morris, Arts and Crafts Pioneer

Biography of William Morris, Arts and Crafts Pioneer William Morris (March 24, 1834–Oct. 3, 1896) was an artist, designer, poet, craftsman, and political writer who had a major impact on the fashions and ideologies of Victorian Britain and the English Arts and Crafts Movement. He also had a profound influence on building design, but hes better known today for his textile designs, which have been repurposed as wallpaper and wrapping paper. Fast Facts: William Morris Known For: Leader of Arts and Crafts MovementBorn: March 24, 1834 in Walthamstow, EnglandParents: William Morris Sr., Emma Shelton MorrisDied: Oct. 3, 1896 in Hammersmith, EnglandEducation: Marlborough and Exeter collegesPublished Works: The Defence of Guenevere and Other Poems, The Life and Death of Jason, The Earthly ParadiseSpouse: Jane Burden MorrisChildren: Jenny Morris, May MorrisNotable Quote: If you want a golden rule that will fit everything, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful. Early Life William Morris was born on March 24, 1834, in Walthamstow, England. He was the third child of William Morris Sr. and Emma Shelton Morris, though his two older siblings died in infancy, leaving him the eldest. Eight survived into adulthood. William Sr. was a successful senior partner at brokers firm. He enjoyed an idyllic childhood in the countryside, playing with his siblings, reading books, writing, and showing an early interest in nature and storytelling.  His love of the natural world would have a growing influence on his later work. At an early age he was attracted to all the trappings of the medieval period. At 4 he began reading Sir Walter Scotts  Waverley  novels, which he finished by the time he was 9. His father gave him a pony and a miniature suit of armor and, dressed as a tiny knight, he went off on long quests into the nearby forest. College Morris attended Marlborough and Exeter colleges, where he met painter Edward Burne-Jones and poet Dante Gabriel Rossetti, forming a group known as the Brotherhood, or the Pre-Raphaelite Brotherhood. They shared a love of poetry, the Middle Ages, and Gothic architecture, and they read the works of philosopher John Ruskin. They also developed an interest in the Gothic Revival architectural style. This wasnt entirely an academic or social brotherhood; they were inspired by Ruskins writings. The Industrial Revolution that began in Britain had turned the country into something unrecognizable to the young men. Ruskin wrote about societys ills in books such as The Seven Lamps of Architecture and The Stones of Venice. The group discussed Ruskins themes about the impacts of industrialization: how machines dehumanize, how industrialization ruins the environment, and how mass production creates shoddy, unnatural objects. The group believed that the artistry and honesty in handcrafted materials were missing in British machine-made goods. They longed for an earlier time. Painting Visits to the continent spent touring cathedrals and museums solidified Morris love of medieval art. Rossetti persuaded him to give up architecture for painting, and they joined a band of friends decorating the walls of the Oxford Union with scenes from the  Arthurian legend  based on  Le Morte dArthur  by 15th century English writer  Sir Thomas Malory. Morris also wrote much poetry during this time. For a painting of Guinevere, he used as his model Jane Burden, the daughter of an Oxford groom. They married in 1859. Architecture and Design After receiving his degree in 1856, Morris took a job in the Oxford office of G.E. Street, a Gothic Revivalist architect. That year he financed the first 12 monthly issues of  The Oxford and Cambridge Magazine, where a number of his poems were printed. Two years later, many of these poems were reprinted in his first published work  The Defence of Guenevere and Other Poems. Morris commissioned Philip Webb, an architect he had met in Street’s office, to build a home for him and his wife. It was called the  Red House because it was to be built of red brick instead of the more fashionable stucco. They lived there from 1860 to 1865. The house, a grand yet simple structure, exemplified the Arts and Crafts philosophy inside and out, with craftsman-like workmanship and traditional, unornamented design. Other notable interiors by Morris include the 1866 Armoury and Tapestry Room at St. James Palace and the 1867 Green Dining Room at the Victoria and Albert Museum. Fine Art Workmen As Morris and his friends were furnishing and decorating the house, they decided to start an association of â€Å"fine art workmen,† which in April 1861 became the firm of  Morris, Marshall, Faulkner Co. Other members of the firm were painter  Ford Madox Brown, Rossetti, Webb, and Burne-Jones. The group of like-minded artists and craftsmen responding to the shoddy practices of Victorian manufacturing became highly fashionable and much in demand, profoundly influencing interior decoration throughout the Victorian period. At the International Exhibition of 1862, the group exhibited stained glass, furniture, and embroideries, leading to commissions to decorate several new churches. The pinnacle  of the firm’s decorative work was a series of stained-glass windows designed by Burne-Jones for Jesus College Chapel, Cambridge, with the ceiling painted by Morris and Webb. Morris designed many other windows, for domestic and  ecclesiastical  use, as well as tapestries, wallpaper, fabrics, and furniture. Other Pursuits He hadnt given up on poetry. Morris first fame as a poet came with the romantic narrative  The Life and Death of Jason  (1867), followed by  The Earthly Paradise  (1868-1870), a series of narrative poems based on classical and medieval sources. In 1875, Morris assumed total control of the fine art workmen company, which was renamed Morris Co. It remained in business until 1940, its longevity a testament to the success of Morris’ designs. By 1877, Morris and Webb had also established the Society for the Protection of Ancient Buildings (SPAB), a historic preservation organization. Morris explained its purposes in the SPAB Manifesto: to put Protection in the place of Restoration...to treat our ancient buildings as monuments of a bygone art. One of the most exquisite tapestries produced by Morris company was The Woodpecker, designed entirely by Morris. The tapestry, woven by William Knight and William Sleath, was shown at the Arts and Crafts Society Exhibition in 1888. Other patterns by Morris include Tulip and Willow Pattern, 1873, and Acanthus Pattern, 1879–81. Later in his life, Morris poured his energies into political writing. He was initially against the aggressive foreign policy of Conservative Prime Minister Benjamin Disraeli, supporting Liberal Party leader William Gladstone. However, Morris became disillusioned after the 1880 election. He began writing for the Socialist Party and participated in socialist demonstrations. Death Morris and his wife were happiest together during the first 10 years of their marriage, but since a divorce was inconceivable at the time, they lived together until his death. Exhausted by his many activities, Morris bean to feel his energy waning. A voyage to Norway in the summer of 1896 failed to revive him, and he died shortly after returning home, in Hammersmith, England, on Oct. 3, 1896. He was buried under a simple gravestone designed by Webb. Legacy Morris is now regarded as a modern visionary thinker, though he turned from what he called â€Å"the dull squalor of civilization† to historical romance,  myth, and epic. Following Ruskin, Morris defined beauty in art as the result of man’s pleasure in his work. To Morris, art included the whole man-made  environment. In his own time he  was best known as the author of  The Earthly Paradise  and for his designs for wallpapers, textiles, and carpets. Since the mid-20th century, Morris has been celebrated as a designer and craftsman. Future generations may esteem him more as a social and moral critic, a pioneer of the society of equality. Sources Morris, William. The Collected Works of William Morris: Volume 5. The Earthly Paradise: a Poem (Part 3). Paperback, Adamant Media Corporation, November 28, 2000.Morris, William. The Defence of Guenevere and Other Poems. Kindle Edition, Amazon Digital Services LLC, May 11, 2012.Ruskin, John. The Seven Lamps of Architecture. Kindle Edition, Amazon Digital Services LLC, April 18, 2011.Ruskin, John. The Stones of Venice. J. G. Links, Kindle Edition, Neeland Media LLC, July 1, 2004.William Morris: British Artist and Author. Encyclopedia Britannica.William Morris Biography. Thefamouspeople.com.About William Morris.The William Morris Society.William Morris: A Brief Biography. Victorianweb.org.