Tilburg University Making Sense through Music Wijnia, Lieke Publication date: 2016 Document Version Publisher's PDF, also known as Version of record Link to publication in Tilburg University Research Portal Citation for published version (APA): Wijnia, L. (2016). Making Sense through Music: Perceptions of the Sacred at Festival Musica Sacra Maastricht. [s.n.]. 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Download date: 30. sep. 2021 Perceptions ofPerceptions Musica Sacra Maastricht the Sacred at Festival Making Sense through Music INVITATION This dissertation seeks to explore how musical performance offers a For the defence of the platform for perceptions of the sacred in contemporary western culture. PhD thesis Buildings like libraries and museums, and activities like engaging with art and music are often discussed in terms of replacing churches and Making Sense religious practices. Yet, this dissertation departs from the question through Music to what extent the equation between art and religion holds stake. By Perceptions of the means of a family resemblance approach, it is explored whether artistic Sacred at Festival Musica practices may fulfill religious functions, and religious practices may Sacra Maastricht function in terms of art. One particular field was studied for multiple years: the annual Dutch arts festival Musica Sacra Maastricht. Founded by in 1983, this multidisciplinary festival offers a long weekend with a range of classical music - varying from Gregorian chant to contemporary Lieke Wijnia art music - as well as performances in theatre, dance, and film. The performances take place throughout the city of Maastricht, in historic Monday buildings such as churches, chapels, the city hall, and the theatre. 12 September 2016 Musica Sacra Maastricht offered a field in which the notions of art and at 14:00 religion both have a place: they meet, clash, or merge into something Making Sense through Music new. The festival proved to be a relevant and exciting research site, Perceptions of the Sacred at Festival Musica Sacra Maastricht In the Aula of not only in addressing existing questions, but also in demonstrating Tilburg University a sense of urgency for larger academic understanding of the role of Cobbenhagen Building music (and artistic practices in general) in contemporary perceptions Warandelaan 2 of the sacred. Lieke Wijnia Reception to follow Lieke Wijnia (1985) conducted this PhD research project between 2011- Wijnia Lieke RSVP: 2016 at the Department of Culture Studies at Tilburg University, The [email protected] Netherlands. With a background in art history, heritage studies, and the study of religion, her main research interest concerns the relationship between artistic practices and the public sphere, with a specific focus Paranymphs: on the role of modern and contemporary art in sense-making strategies. Dr. Inez Schippers Suzanne van der Beek MA 13882_Wijnia_Omslag.indd 1 14-06-16 11:07 Making Sense through Music Perceptions of the Sacred at Festival Musica Sacra Maastricht Lieke Wijnia Making Sense through Music Perceptions of the Sacred at Festival Musica Sacra Maastricht PROEFSCHRIFT This PhD project has been financed by Tilburg University, ter verkrijging van de graad van doctor Faculty of Humanities, Department of Culture Studies. aan Tilburg University op gezag van de rector magnificus, prof. dr. E.H.L. Aarts, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie ISBN: 978-94-6299-378-5 in de aula van de Universiteit op maandag 12 september 2016 om 14.00 uur Cover photography: Teun van Beers Cover design: Robert Kanters, Ridderprint BV door Inside photography: © Musica Sacra Maastricht: Teun van Beers, Iris Rijskamp, Kiet Duong Layout & printing: Ridderprint BV Lieke Wijnia, geboren op 18 juli 1985 te Harlingen © 2016 Lieke Wijnia Making Sense through Music Perceptions of the Sacred at Festival Musica Sacra Maastricht PROEFSCHRIFT This PhD project has been financed by Tilburg University, ter verkrijging van de graad van doctor Faculty of Humanities, Department of Culture Studies. aan Tilburg University op gezag van de rector magnificus, prof. dr. E.H.L. Aarts, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie ISBN: 978-94-6299-378-5 in de aula van de Universiteit op maandag 12 september 2016 om 14.00 uur Cover photography: Teun van Beers Cover design: Robert Kanters, Ridderprint BV door Inside photography: © Musica Sacra Maastricht: Teun van Beers, Iris Rijskamp, Kiet Duong Layout & printing: Ridderprint BV Lieke Wijnia, geboren op 18 juli 1985 te Harlingen © 2016 Lieke Wijnia Promotor: prof. dr. P.G.J. Post Copromotor: dr. M.J.M. Hoondert Overige leden van de promotiecommissie: prof. dr. O.M. Heynders prof. dr. A. Klostergaard Petersen dr. R. Illman dr. M. Oosterbaan Foar myn leave mem In loving memory of Piety Wijnia-Mollema (1954-2015) Alles van waarde is weerloos Everything of value is defenseless Lucebert Promotor: prof. dr. P.G.J. Post Copromotor: dr. M.J.M. Hoondert Overige leden van de promotiecommissie: prof. dr. O.M. Heynders prof. dr. A. Klostergaard Petersen dr. R. Illman dr. M. Oosterbaan Foar myn leave mem In loving memory of Piety Wijnia-Mollema (1954-2015) Alles van waarde is weerloos Everything of value is defenseless Lucebert TABLE OF CONTENTS Acknowledgements PART I | CONTEXT, METHOD, AND THEORY 1 | Exploring the Sacred in the Context of Music 1.1 | Introduction 3 1.2 | Scholarly Treatment of the Sacred in Music 5 1.3 | Use of the Terminology 7 1.4 | Conceptualizing the Sacred 9 1.5 | Introduction to the Field: Musica Sacra Maastricht 11 2 | When the Music Happens 2.1 | Introduction 17 2.2 | Theoretical Framework 17 2.3 | Ethnography 18 2.3.1 | Participant Observation 19 2.3.2 | Sensory Ethnography 20 2.3.3 | Interviews 21 2.4 | Musica Sacra Maastricht as Research Site 22 2.4.1 | Festival Format 22 2.4.2 | Three Groups of Participants 23 2.4.3 | The Position of the Researcher 26 2.5 | Processing the Empirical Data 27 3 | The Sacred in Music 3.1 | Introduction 31 3.2 | The Situational Sacred 34 3.2.1 | Two Typologies 34 3.2.2 | Building Blocks 36 3.2.3 | Discursive Feature 38 3.3 | Set-Apart 41 3.4 | The Sacred in Music 42 3.5 | Approaching Music 45 3.6 | Music as Generator of the Sacred 47 4 | Ritual 4.1 | Introduction 49 4.2 | Approaching Ritual 50 4.3 | Festival: A Ritual Form 52 4.3.1 | A Situation of Contrast 53 4.3.2 | Performance of Particular Behavior 55 4.3.3 | Individual and Collective Identities 58 4.3.4 | Orientation on Meaning 59 4.4 | Relating Ritual and Art 62 TABLE OF CONTENTS Acknowledgements PART I | CONTEXT, METHOD, AND THEORY 1 | Exploring the Sacred in the Context of Music 1.1 | Introduction 3 1.2 | Scholarly Treatment of the Sacred in Music 5 1.3 | Use of the Terminology 7 1.4 | Conceptualizing the Sacred 9 1.5 | Introduction to the Field: Musica Sacra Maastricht 11 2 | When the Music Happens 2.1 | Introduction 17 2.2 | Theoretical Framework 17 2.3 | Ethnography 18 2.3.1 | Participant Observation 19 2.3.2 | Sensory Ethnography 20 2.3.3 | Interviews 21 2.4 | Musica Sacra Maastricht as Research Site 22 2.4.1 | Festival Format 22 2.4.2 | Three Groups of Participants 23 2.4.3 | The Position of the Researcher 26 2.5 | Processing the Empirical Data 27 3 | The Sacred in Music 3.1 | Introduction 31 3.2 | The Situational Sacred 34 3.2.1 | Two Typologies 34 3.2.2 | Building Blocks 36 3.2.3 | Discursive Feature 38 3.3 | Set-Apart 41 3.4 | The Sacred in Music 42 3.5 | Approaching Music 45 3.6 | Music as Generator of the Sacred 47 4 | Ritual 4.1 | Introduction 49 4.2 | Approaching Ritual 50 4.3 | Festival: A Ritual Form 52 4.3.1 | A Situation of Contrast 53 4.3.2 | Performance of Particular Behavior 55 4.3.3 | Individual and Collective Identities 58 4.3.4 | Orientation on Meaning 59 4.4 | Relating Ritual and Art 62 PART II | DATA ANALYSIS 7.3.3 | Place 142 7.4 | Meaning 144 Part II | Introduction 67 7.4.1 | Relating Text and Sound 144 7.4.2 | Composition and Experience 145 5 | The Program Committee 7.5 | Perceiving the Sacred 149 5.1 | The Data Set 69 5.2 | Identity 69 PART III | REFLECTIONS 5.2.1 | Approach to Musica Sacra 70 5.2.2 | “Last of the Mohicans” 72 8 | Perceptions of the Sacred 5.2.3 | The Annual Theme 73 8.1 | Introduction 153 5.3 | Quality 74 8.2 | Practices: Music 154 5.3.1 | Composers, Compositions, Concert programs 75 8.2.1 | The Implications of Art Music 155 5.3.2 | Performers 77 8.2.2 | Experience and Interpretation 156 5.3.3 | Aesthetics 77 8.2.3 | The Attribution of Meaning 158 5.4 | Diplomacy 78 8.2.4 | What Music Conveys 160 5.4.1 | Maastricht Partners 78 8.3 | Discursive Frame: Religion 162 5.4.2 | Church Congregations 80 8.3.1 | Emic Concerns with the Sacred 162 5.4.3 | Communicating about the Sacred