DOCSLIB.ORG

New Media in the Social Spaces. Strategies of Influence

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Media in the Social Spaces. Strategies of Influence KATARZYNA WALOTEK-ŚCIAŃSKA MICHAŁ SZYSZKA ARKADIUSZ WĄSIŃSKI DANUTA SMOŁUCHA New media in the social spaces. Strategies of influence PRAGUE 2014 Autoři: Katarzyna Walotek-Ściańska Michał Szyszka Arkadiusz Wąsiński Danuta Smołucha Recenzenti: doc. Mgr. Katarína Fichnová, PhD. (Univerzita Konštantína Filozofa v Nitre) prof. WSiZ dr hab. Krzysztof Gajdka (Wyższa Szkoła Informatyki i Zarządzania w Rzeszowie) Mgr. Lukasz P. Wojciechowski, PhD. (Univerzita Konštantína Filozofa v Nitre) Edični řada: Kultura – Literatura – Komunikace t. II. Redaktory edični řady: Katarzyna Walotek-Ściańska, Dariusz Rott Vědecka rada doc. Mgr. Katarína Fichnová, PhD. (Univerzita Konštantína Filozofa v Nitre); prof. WSiZ dr hab. Krzysztof Gajdka (Wyższa Szkoła Informatyki i Zarządzania w Rzeszowie); prof. WSH dr hab. Michał Kaczmarczyk (Wyższa Szkoła Humanitas w Sosnowcu); prof. PhDr. Libor Pavera (Vysoka škola hotelová, Praha); prof. PhDr. Dušan Pavlů (Univerzita sv. Cyrila a Metoda v Trnave); prof. Ivo Pospíšil (Masarykova univerzita w Brně), prof. dr hab. Dariusz Rott (Uniwersytet Śląski w Katowicach, Univerzita sv. Cyrila a Metoda v Trnave); prof. UEK dr hab. Zbigniew Widera (Uniwersytet Ekonomiczny w Katowicach) ISBN 978-80-87800-10-2 © Verbum, Praha 2014 Počítačová sazba, příprava do tisku: Piotr Gorzelańczyk, www.pitart.pl Obálka: Maja Barańska, www.szasza.pl Vydanie prvé. Introduction ............................................................ 5 1. NEW MEDIA IN THE COMMUNICATION SPACE ....................... 7 1.1 Transformations of communication in the future social formations ............. 7 1.2 Communication and social contexts for functioning of networks and virtual communities ............................................. 17 1.3 Intercultural communication from the new media perspective ................ 25 2. MEDIA, NEW MEDIA AND FUNCTIONING OF SOCIAL WORK AND SOCIAL ASSISTANCE INSTITUTIONS ........................... 35 2.1 Actions in social or media space? ...................................... 35 2.2 Modern roles of media in social institutions system ........................ 37 2.3 Social assistance in media ............................................ 40 2.4 Stereotypes ....................................................... 45 2.5 The issue of importance of use of media and new media in social assistance...... 47 2.6 Specificity and role of new media ...................................... 49 2.7 Presentation of institutions in the matter of new media ..................... 51 2.8 Media communication of social assistance on the Internet ................... 52 2.9 Social marketing ................................................... 59 3. SOCIAL ADVERT ISING .............................................. 64 3.1 Social advertising and commercial advertising ............................ 65 3.2 Advertising as the communication process ............................... 66 3.3 Carriers of advertising messages ....................................... 68 3.4 Social campaigns in the Internet ....................................... 70 3.4.1 Acitivisation and civil society .................................... 70 3.4.2 Road safety .................................................. 70 3.4.3 Communication in family ....................................... 75 3.4.4 Combating social exclusion ..................................... 77 4. NEW MEDIA IN RELIGION SPACE .................................... 80 4.1 Religion in XXI century ............................................. 81 4.2 Religion and media ................................................. 83 4.2.1 Christianity .................................................. 86 4.2.2 Islam ....................................................... 87 4.2.3 Judaism ..................................................... 91 4.2.4 Ultra-orthodox Judaism ........................................ 92 4.2.5 Hinduism ................................................... 93 4.2.6 The Buddhism ............................................... 94 4.3 The New Media and International Dialogue .............................. 95 4.3.1 The Virtual Church and the Real Church .......................... 95 4.3.2 The Online Rituals . 97 4.3.3 The Virtual Pilgrimage ......................................... 98 4.3.4 Multimedia Sermon and iPod Preaching ........................... 99 4.3.5 Digital Jesus and Kosher Mobile Phone ........................... 100 4.3.6 Bible on-line ................................................ 102 4.4 Social Media – New Place For Religious Communities .................... 103 4.5 Media, Religion and Politics ......................................... 104 4.6 Old Media, New Media ............................................ 105 4.7 Future Predictions ................................................. 108 CONCLUSIONS ........................................................ 110 Bibliography ........................................................... 112 New media in the social spaces. Strategies of influence 5 Introduction Presenting the readers with publication on the functioning of new media in contemporary social spaces it is worth to look back and refer to the famous these by Marshal McLuhan who contributed enormously to the development the modern discourse about media and communi- cation. He gain his renown with foreseeing humankind entering the “information age” and the beginning of the “global village” era. Global as it would include almost all contemporary world. Village as humans dispose the communication means with unprecedented speed, capacity and availability. McLuhan was also the first one who pointed out that the modern media (means of communication) become a carrying and engaging message themselves, they affect greatly the character of information and styles of perception. Moreover, he notices, the character of the com- munication means has greater impact in the receiver than the message itself (Understanding media the extensions of man, New York : McGraw-Hill, 1964). The reference to on of the greatest mass communication theoreticians is important as, while it was formed on the basis of observation, mainly satellite television, McLuhan’s vision practically fulfills today due to the digital revolution in the 90’s and popularization of the Internet and new media. It is today that first “digital natives” enter into adulthood (Mac Prensky), that is the children of the new media era, a generation socia- lized not only by the social environment: peer groups, older adults, but also – to a large degree – by the digital media. In this context, it is easy to notice that today, in the age of prefigurative culture (Margaret Mead) in which older generation learns form the younger one, it is more and more difficult to adapt and keep up with the ongoing changes and technologization of the reality. The best example of it is the dynamics of transformation in communication behaviors, the dynamics of the new media development and introducing them in the next layers of human activity. Nonetheless, it would be a great mistake to perceive the contemporary social transformations connected with the implosive development of new media and media “colonization” of the next dimensions of human functioning only in the category of loss. It is worth and necessary to highlight all the chances and opportunities introduced by media development in education, social integration, building social and information bonds, that is creating such communication behaviors which, despite their innovative character, remain constructive and tied with the traditional, “proved” behaviors. Each medium, according the McLuhan’s theses, replaces, supersedes but also enhances and anticipates something. During the last decade the new media, stated in the title of this publication, have been one of the most frequently discussed, analyzed and – frankly speaking – fashionable ideas. It is, however, significant that this term, widely and commonly used for dozens of year still does not have a clear definitions nor coherent meaning. The idea of new media, linked with the adjectives “digital” or “electronic” is very often considered in relation to the “old media”, digital carriers and convergence process. In fact, it should be emphasized that there is no single clear definition of what new media is and what is the qualitative difference between them and old media. In this publication we refer to one of the understandings defined by the prominent British media expert Denis McQuail who ties the concept of new media with media functioning in the network space, using the Internet as the main message carrier. According to this understanding, among the new media specific features are first of all mutual connections, access opportunities 6 Katarzyna Walotek-Ściańska, Michał Szyszka, Arkadiusz Wąsiński, Danuta Smołucha of individual users who may be both, receivers and senders, broadband interactivity, multitude of possibilities and uses, openness, omnipresence, space infinity and delocalization (Denis Mcquail, McQuails’s Mass Communication Theory, 2010). In this publication we approach the problem of various dimensions of media and new media social functioning in the specific social spaces: human interactions, programming of influen- ce strategies, autopresentation and autocreation in the new media space, functioning of social groups and institutions within it as well as the selected aspects of social networking services in building sacrum space. The authors attempt, first of all, to point out to the matters of projecting the influence strategies in various social
Load more

Recommended publications
  • 00-Title JIABU (V.11 No.1)
    The Journal of the International Association of Buddhist Universities (JIABU) Vol. 11 No.1 (January – June 2018) Aims and Scope The Journal of the International Association of Buddhist Universities is an academic journal published twice a year (1st issue January-June, 2nd issue July-December). It aims to promote research and disseminate academic and research articles for researchers, academicians, lecturers and graduate students. The Journal focuses on Buddhism, Sociology, Liberal Arts and Multidisciplinary of Humanities and Social Sciences. All the articles published are peer-reviewed by at least two experts. The articles, submitted for The Journal of the International Association of Buddhist Universities, should not be previously published or under consideration of any other journals. The author should carefully follow the submission instructions of The Journal of the International Association of Buddhist Universities including the reference style and format. Views and opinions expressed in the articles published by The Journal of the International Association of Buddhist Universities, are of responsibility by such authors but not the editors and do not necessarily refl ect those of the editors. Advisors The Most Venerable Prof. Dr. Phra Brahmapundit Rector, Mahachulalongkornrajavidyalaya University, Thailand The Most Venerable Xue Chen Vice President, Buddhist Association of China & Buddhist Academy of China The Most Venerable Dr. Ashin Nyanissara Chancellor, Sitagu International Buddhist Academy, Myanmar Executive Editor Ven. Prof. Dr. Phra Rajapariyatkavi Mahachulalongkornrajavidyalaya University, Thailand ii JIABU | Vol. 11 No.1 (January – June 2018) Chief Editor Ven. Phra Weerasak Jayadhammo (Suwannawong) International Buddhist Studies College (IBSC), Mahachulalongkornrajavidyalaya University, Thailand Editorial Team Ven. Assoc. Prof. Dr. Phramaha Hansa Dhammahaso Mahachulalongkornrajavidyalaya University, Thailand Prof.
    [Show full text]
  • Buddhist Music Review, 1998
    Buddhism's twentyfive hundred year history has found this tradition living in the heart of many Eastern cultures in how these cultures express wisdom and compassion through chant and instrumental interpretations. With the increasing interest in the philosophy and practice of Buddhism in the West, this important collection of Buddhist chants and music opens a whole new horizon for practitioners and students of this tradition. In this collection, we can hear the humid sounds of Vietnam in the chanting of teacher Thich Nhat Hanh. And we also touch the robust strength of Korea's rugged mountains in the chanting of Zen Master Seung Sahn. The Tendai chants remind us of the Gregorian tradition where there is an absence of harmony and a presence of the community in unison. The haunting sound of the shakuhachi reminds us of the stark and beautiful simplicity of Japanese Zen practice. Included also are chants and instrumentals by Buddhist practitioners from Sri Lanka, Tibet, and China. In this way, we have here a wealth of Buddhist chant and music that reflects the profoundly rich cultural interpretations of a vision and practice that arose in India over two millenia ago. Interestingly enough, music is an integral part of Buddhist practice. I know of no school of Buddhism that does not include music as an integral element of the tradition. However, this is not music as we know it. Buddhist chant and percussion practice in particular is created for the purpose of inducing meditative states of consciousness. Obviously from this collection, we see that we are talking about differing states of meditation, from the rich visualization-based practices of meditation of the Tibetans who use overtone chanting and resounding symbols, horns, and drums, to the gentle and rather sweetish tones of Vietnamese Buddhism where lovingkindness is emphasized.
    [Show full text]
  • Transmission and Preservation of Musical Intangible Cultural Heritage in Chinese Buddhism Zhai Fengjian (Trans
    1 Transmission and Preservation of Musical Intangible Cultural Heritage in Chinese Buddhism Zhai Fengjian (Trans. Mingmei Yip) Following its introduction into China, Buddhism became sinicized over the years. Buddhist music developed in two directions – ritual music and folk music. The intended audience for the former is metaphysical beings such as Buddha, Bodhisattva and spirits, while the latter is for living beings. The former maintains a solemn and reverent tone due to its sanctity. In contrast, Buddhist folk music has absorbed music from different regions and thus possesses different local flavors. Before the founding of PRC, there was little research on Buddhist music in China with the exception of musicologist Liu Tianhua’s recording of Buddhist music in the thirties. More extensive research on the subject had begun in the 1950s, notably with Yang Yinliu’s publications entitled “Zhihua Temple Music” and “Hunan Music Census Report Appendix · Religion Music”. These have become the models for field work on China’s folk music. Another influential work “Temple Music” published by the China Musicians Association, Chengdu Branch in 1955. This was the largest collection of Buddhist music during that time. Since the 1980s, to preserve the heritage of folk culture, the Ministry of culture together with and other units launched the Compilation Project of China’s Top Ten Literature and Art Collection Recordings. The first three publications were: “Collection of Chinese Folk Songs”, “Collection of Chinese Folk Instrumental Music”, and “Collection of Chinese Opera Music”. Since then, collection and research on Buddhist music has resulted in many additional publications. One notably Buddhist music scholar is Yang Yinliu’s student Tian Qing who visited about 200 temples in several provinces and was the first to record much Buddhist music.
    [Show full text]
  • COMMENTARY on AVALOKITEŚVARA BODHISATTVA (Fourth Edition)
    Bảo Anh Lạc-22 COMMENTARY ON AVALOKITEŚVARA BODHISATTVA (Fourth Edition) Dr. Bhikkhunī Giới Hương Nhà xuất bản Ananda Viet Foundation Copyright © 2019 Dr. Bhikkhunī Giới Hương All rights reserved. ISBN: 978-0-359-47726-5 Huong Sen Buddhist Temple 19865 Seaton Avenue, Perris, California 92570, USA Tel: (951) 657-7272, Cell: (951) 616-8620 Email: [email protected] [email protected] Facebook: https://www.facebook.com/huongsentemple Web: www.huongsentemple.com . CONTENTS On the Fourth Edition i Foreword Preface 1 General Introduction of Avalokiteśvara 1 2 Hearing and Reflecting Method 32 3 Thirty-two Sambhogakāya 62 4 Fourteen Kinds of Fearlessness 77 5 Twenty-five Bodhisattvas Present Their Methods 98 6 The Perfectly Penetrated Ear-Organ 234 7 The Methods of Pure Land and Hearing-nature 282 8 Conclusion 294 Glossary – References & Works 311 Buddhist Music Albums 326 ON THE FOURTH EDITION This is a revised and enlarged edition of the Commentary on Avalokiteśvara Bodhisattva, which was first published seven years ago. The second and third editions were printed in 2012 and 2014 at Phương Đông Publishing. This edition was also printed at Hồng Đức Publishing, HCM City, Việt Nam. In presenting this edition, I have maintained the contents in the first edition. However, for the sake of clarity, a few changes have been made, errors have been corrected, the equivalent Pāli and Sanskrit terms have been added to the glossary, and a summary, as well as discussion questions, have been added at the end of each chapter. I would like to gratefully acknowledge with special thanks Bhikkhunī Viên Ngộ, Bhikkhunī Viên Quang, Hisayo Suzuki, and Pamela C.
    [Show full text]
  • Context and Change in Japanese Music Alison Mcqueen Tokita and David Hughes
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SOAS Research Online ASHGATE RESEARCH 1 COMPANION Context and change in Japanese music Alison McQueen Tokita and David Hughes 1. What is ‘Japanese music’? Increasingly, the common view of Japan as a mono-cultural, mono-ethnic society, whether in modern or ancient times, is being challenged (Denoon et al. 1996). The category ‘Japan’ itself has been questioned by many (for example Amino 1992; Morris-Suzuki 1998). Amino insists that when discussing the past we should talk not about Japan or the Japanese people, but about people who lived in the Japanese archipelago. If Japan itself is not a solid entity, neither can its musical culture be reduced to a monolithic entity. If the apparently simple label ‘music of Japan’ might refer to any music to be found in Japan, then the phrase ‘music of the Japanese’ would cover any music played or enjoyed by the Japanese, assuming we can talk with confidence about ‘the Japanese’. The phrase ‘Japanese music’ might include any music that originated in Japan. This book would ideally cover all such possibilities, but must be ruthlessly selective. It takes as its main focus the musical culture of the past, and the current practices of those traditions as transmitted to the present day. A subsidiary aim is to assess the state of research in Japanese music and of research directions. The two closing chapters cover Western-influenced popular and classical musics respectively. At least, rather than ‘Japanese music’, we might do better to talk about ‘Japanese musics’, which becomes one justification for the multi-author approach of this volume.
    [Show full text]
  • AN ANALYSIS of BUDDHIST ELEMENTS in the MUSIC of PRINCESS WEN CHENG by IMEE OOI Xiao Hao Tee Fung Ying Loo ABSTRACT 1. INTRODUCT
    International Journal of Asian Social Science, 2014, 4(6): 714-721 International Journal of Asian Social Science ISSN(e): 2224-4441/ISSN(p): 2226-5139 journal homepage: http://www.aessweb.com/journals/5007 AN ANALYSIS OF BUDDHIST ELEMENTS IN THE MUSIC OF PRINCESS WEN CHENG BY IMEE OOI Xiao Hao Tee Department of Music, Cultural Centre, University of Malaya, Kuala Lumpur, Malaysia Fung Ying Loo† Department of Music, Cultural Centre, University of Malaya, Kuala Lumpur, Malaysia ABSTRACT This article examines musical aspects of Princess Wen Cheng, a musical composed by Imee Ooi, a Malaysian composer. A majority of the past and present literature in Buddhist chant and music focus on chanting, devotional song and some on commercial popular music. This research looks into this piece of musical theatre that is based on the historical story of Wen Cheng Kongjo and analyses its musical content in relating to Buddhism. Selected analysis of the composition and its relations to Buddhism is highlighted, and the way in which elements from Buddhism, chanting and instrumentation are employed by Ooi in her music and the aspects of performance practice are discussed. This includes stylistic feature, melodic contour, harmonic progression and imitation of timbre in relation to Buddhist chanting and the instruments used in Buddhist ritual. Research methods include ethnography, interview, and analysis, revealing how this musical forms a new genre of Buddhist music to stand alongside others such as chant, devotional song and commercial popular music. © 2014 AESS Publications. All Rights Reserved. Keywords: Buddhism, Chant, Imee Ooi, Buddhist music, Musical theatre, Analysis. 1. INTRODUCTION The term „music‟ is often questioned when referring to the organized sound heard during a Buddhist ritual.
    [Show full text]
  • Chinese Ceremonial Music in Mahayana Buddhism in Southern Thailand
    Chinese Ceremonial Music in Mahayana Buddhism in Southern Thailand Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. Phil.) vorgelegt der Philosophischen Fakulät der Martin-Luther-Universität Halle-Wittenberg, Fachbereich Musikwissenschaft/Musikethnologie von Frau Rewadee Ungpho geb. am 07.06.2010 CONTENT ZUSAMMENFASSUNG i THAI ORTHOGRAPHY: CONSONANTS 1 1 INTRODUCTION 3 2 THAI-CHINESE IN SOUTHERN THAILAND: AN OVERVIEW 8 2.1 Chinese Society 8 2.2 Buddhism in Thailand 10 2.3 Buddhist Temple and Chinese Life 13 2.4 The Teaching of Buddha in Sutras 15 3 BUDDHISM IN SOUTHERN THAILAND 22 3.1 The Dvaravati Period 22 3.2 The Srivijaya Period 23 3.3 The Sukhothai Period 24 3.4 The Ayutthaya Period 26 3.5 The Thonburi Period 27 3.6 The Rattanakosin Period 28 3.7 Mahayana Buddhism in Thailand Today 31 4 CHINESE CEREMONIES AND MAHAYANA BUDDHISM 33 4.1 The Chinese Calendar System 33 4.2 Ceremonies in the Cycle of the Year 34 4.2.1 Chinese New Year 35 4.2.2 Dispelling Misfortune Ceremony 36 4.2.3 Ancestor Worship 37 4.2.4 Paying the Respect to the Deity Ceremony 38 4.2.5 The Festival of Leaving the Basket for Charity 45 4.2.6 The Moon Festival 52 4.3 Ceremonies in the Cycle of Life 52 4.3.1 Ordination Ritual 53 4.3.2 Funeral Ceremony 55 4.3.3 Merit-Transferring Ceremony 55 5 THETSAKAN KIN CHE (fl∏…¢”∆¢’∫fl©): THE VEGETARIAN 63 ۿ FESTIVAL 5.1 The Character Symbol of Thetsakan kin che 65 5.2 Five Pungent Herbs 67 5.3 Pak Tao: The Northern Dipper 69 5.3.1 The Incarnation of Nine Stars in a Buddhist Sutra 74 5.3.2 The Incarnation of Nine Stars
    [Show full text]
  • Visualizing Music in the Tibetan Sacred Ritual Music Liturgies Jeffrey W
    Yale Journal of Music & Religion Volume 1 | Number 1 Article 4 2015 Buddhism as Performing Art: Visualizing Music in the Tibetan Sacred Ritual Music Liturgies Jeffrey W. Cupchik Follow this and additional works at: http://elischolar.library.yale.edu/yjmr Part of the Ethnomusicology Commons, History of Religions of Eastern Origins Commons, Liturgy and Worship Commons, Medieval Studies Commons, Musicology Commons, Music Performance Commons, Music Practice Commons, Performance Studies Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Cupchik, Jeffrey W. (2015) "Buddhism as Performing Art: Visualizing Music in the Tibetan Sacred Ritual Music Liturgies," Yale Journal of Music & Religion: Vol. 1: No. 1, Article 4. DOI: https://doi.org/10.17132/2377-231X.1010 This Article is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Yale Journal of Music & Religion by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. 31 Buddhism as Performing Art Visualizing Music in the Tibetan Sacred Ritual Music Liturgies Jeffrey W. Cupchik If the perfection of generosity Were the alleviation of the world’s poverty, Then since beings are still starving now, In what manner did the previous Buddhas perfect it? The perfection of generosity is said to be The thought to give all beings everything, Together with the fruit of such a thought; Hence it is simply a state of mind.1 —Shantideva, eighth-century Buddhist philosopher, Nalanda Monastic University, India Introduction: Chöd Studies—an Interdisciplinary Approach The last three decades have signaled a gradual increase in the amount of Western scholarship produced exclusively on Chöd (Tib.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 171 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017) The Development of Chinese Buddhist Music and Its Interaction with Folk Music Li Yan School of Humanities China University of Political Science and Law Beijing, China 100088 Abstract—Buddhist music, as foreign religious music for Buddhist music with the Western Regions and Indian local China, is deeply influenced by the regional and spontaneous characteristics also came. During Northern and Southern characteristics of Chinese folk music in the process of Dynasties, Buddhist music gradually integrated with court localization, forming different schools with local music music and folk music. “Records of Luoyang Gala”（洛阳伽蓝 characteristics. At the same time, Buddhist music and Chinese 记）preserved the Northern Wei Dynasty（北魏）Buddhist folk music continue to integrate, enriching the Chinese folk music and dance style, describing the Buddhist temple of music content and evolved into a variety of artistic carrier. major religious activities through music: "Buddhist music, the immortal world, a hundred tattoo, parallel show". There Keywords—Buddhist music; folk music; local; impromptu; was also King music Temple which was set up for female. fusion “Songs around the beam, dance sleeve gradually turning, voice of music was loud and clear, all of music made people I. INTRODUCTION spiritually harmonious and wonderful. In Sui Dynasty, court Chinese Buddhist music, by rendering and strengthening music contained the XiLiang music （西凉乐 ） , Tianzhu the atmosphere of religious rituals, attracted popular and music（天竺乐）and other Buddhist music. In Tang Dynasty, spread religious doctrine, and gradually developed into an Buddhist music was widely prevalent in social life, Buddhist important part of Chinese religious music.
    [Show full text]
  • Native American Flute Meditation: Musical Instrument Design
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2008 Native American Flute Meditation: Musical Instrument Design, Construction and Playing as Contemplative Practice Daniel Cummings University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Mental and Social Health Commons, and the Music Commons Recommended Citation Cummings, Daniel, "Native American Flute Meditation: Musical Instrument Design, Construction and Playing as Contemplative Practice" (2008). Senior Honors Projects. Paper 104. http://digitalcommons.uri.edu/srhonorsprog/104http://digitalcommons.uri.edu/srhonorsprog/104 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Native American Flute Meditation: musical instrument design, construction and playing as contemplative practice by Dan Cummings © 2008 1 Introduction The two images on the preceding cover page represent the two traditions which have most significantly informed and inspired my personal flute journey, each in its own way contributing to an ongoing exploration of the design, construction and playing of Native American style flutes, as complementary aspects of a musically-oriented meditation practice. The first image is a typical artist’s rendition of Kokopelli, the flute-playing fertility deity who originated in the art and folklore of several Native North American cultures, particularly in the Southwestern region of the United States. Said to be representative of the spirit of music, today Kokopelli has become a ubiquitous symbol and quickly recognizable commercial icon associated with the Native American flute, or Native music and culture in general.
    [Show full text]
  • Library of Congress Classification
    BL RELIGIONS. MYTHOLOGY. RATIONALISM BL Religions. Mythology. Rationalism Religion Periodicals. Serials 1.A1 International or polyglot 1.A2-Z English and American 2 Dutch 3 French 4 German 5 Italian 6 Scandinavian 7 Spanish and Portuguese 9.A-Z Other languages, A-Z (10) Yearbooks see BL1+ Societies 11.A1 General works 11.A2-Z English and American 12 Dutch 13 French 14 German 15 Italian 16 Scandinavian 17 Spanish and Portuguese 19.A-Z Other, A-Z 21 Congresses Collected works Including monographs, papers, essays, etc. 25 Several authors 27 Individual authors 29 Selections 31 Dictionaries. Encyclopedias 35 Directories 37 Computer network resources Including the Internet 41 Study of comparative religion. Historiography. Methodology Religious education 42 General works 42.5.A-Z By region or country, A-Z 43.A-Z Biography of students and historians, A-Z Museums. Exhibitions 45 General works 46.A-Z Individual, A-Z Subarrange by place or name 48 General works 50 Addresses, essays, lectures 51 Philosophy of religion. Philosophy and religion Including general works on faith and reason Cf. BD573 Teleology Psychology of religion. Religious experience Cf. BP175 Islam Cf. BR110+ Christianity Cf. HQ61 Religious emotion and eroticism 53.A1 Periodicals. Societies. Serials 53.A2-Z General works 53.5 Fanaticism. Religious addiction. Religious neurosis 54 Glossolalia. Gift of tongues Cf. BT122.5 Glossolalia or tongues as one of the gifts of the Holy Spirit 1 BL RELIGIONS. MYTHOLOGY. RATIONALISM BL Religion -- Continued 55 Religion and civilization Religion and ethics see BJ47 Religion and literature see PN49; PN1077; PR145; PR830.R5; etc.
    [Show full text]
  • Buddhism and Music
    Sounds of the Dharma Buddhism and Music I. Music and Buddhism Music gives us the capacity to express the deep- est feelings of the human soul. Whether through holy hymns or sincere chants of praise, it is capable of lifting our minds to an almost sublime state, and, as such, is regarded as having an important role in the promotion of religious teachings. In the world’s re- ligions, music has a very important function and a wide range of applications. The teachings of the Buddha mention music on many occasions. In the Amitabha Sutra, it is written that heavenly singing and chanting is heard all day and night as mandara - 1 - flowers softly rain down from the heavens. All kinds of birds produce beautiful and harmonious music throughout the day and night. Upon the blowing of a gentle breeze, the movements of jewel trees bring about a kind of wondrous music, as if thousands of gentle tunes are being played together in harmony. Upon hearing these melodious sounds, those present naturally become mindful of the Buddha, mindful of the Dharma, and mindful of the Sangha. In accor- dance, all Buddhas and bodhisattvas are very skilled in utilizing music to spread the Dharma and guide sentient beings to enlightenment. In Buddhism, sutras sung as hymns and other songs praising the virtues of the Buddhas have at- tracted and helped purify the hearts of countless dis- ciples. One of the Buddha’s teachings (Treatise on the Perfection of Great Wisdom) says, “In order to build a pure land, the bodhisattvas make use of beautiful music to soften people’s hearts.
    [Show full text]