Music, Spirituality, and Expansive Ways of Knowing

Throughout history, mystics from various cultures have acknowledged the powerful influence of a mysterious force associated with the human heart, and engage with such essence through ritual and ceremony. Melody, song, and chant have been integral to sacred rituals since the dawn of civilization. This research investigates the role of sonic and auditory elements in ritualistic practices, particularly focusing on the contemporary practices of Japanese Buddhist monk Yakushiji Kanho. This approach allows us to explore how sound and auditory experiences contribute to the connection with the divine, demonstrating the enduring relevance of these elements in spiritual rituals.

The study will focus on the role of music in Buddhism and religious practices in general, highlighting how rituals are integrated into modern-day popular culture. Furthermore, it will examine the use of Asian religious music in "New Age" spiritual contexts in the United States and analyze how globalization affects sacred music practices.

Musicologist Suzanne Cusick argues that music could act as a lesbian lover, that it might be sex itself, and that a lesbian relationship with music could liberate musicology from heteronormative dynamics—as lesbian relationships are inherently outside of this structure. However, she explores these dynamics as a monogamous relationship. Using Cusick’s work as a blueprint, this paper investigates relationships with music that are non-monogamous, like those in religious contexts. This paper will present how ideas of queerness, sexuality, and love interact with four potential relationship dynamics in the relationship between an individual, God, and music in The Church of Jesus Christ of Latter-Day Saints. Namely, a polyamorous relationship, a relationship with un-ethical non-monogamy, an abusive relationship, and a relationship that incorporates BDSM. By engaging with Church archival documents, I aim to provide new perspectives on how scholars can examine power dynamics when there are more than two parties at play.