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Musical Assemblies: How Early Christian Music Functioned As A Musical Assemblies: How Early Christian music functioned as a Rhetorical Topos, a Mechanism of Recruitment, and a Fundamental Marker of an Emerging Christian Identity by Jade Brooklyn Weimer A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department for the Study of Religion University of Toronto © Copyright by Jade Brooklyn Weimer 2016 Musical Assemblies: How Early Christian music functioned as a Rhetorical Topos, a Mechanism of Recruitment, and a Fundamental Marker of an Emerging Christian Identity Jade Brooklyn Weimer Doctor of Philosophy Centre for the Study of Religion University of Toronto 2016 Abstract This dissertation examines the various ways in which early Christ-followers incorporated music into their religious discourse and ritual practice. Scholars have primarily focused on two particular areas of inquiry: the cultural and religious 'origins' of early Christian music and the history of music within the context of church liturgy. Music, however, played a much greater role within Christian assemblies than simply existing as part of religious liturgy. I contend that music helped shape an emerging Christian identity within early Christ-following assemblies and collective singing became a vital component in defining in-group and out-group boundaries. Early Christian writings also demonstrate that hymn compositions were used as pedagogical tools, rhetorical devices, and mechanisms of recruitment to attract new members. I begin by examining Greco-Roman and Jewish primary source materials that reference or describe the nature of musical practice in antiquity in order to contextualize my study of musical references in early Christian texts. The next section utilizes recent developments in cognitive science to illustrate the importance of collective singing in establishing a group identity, creating cohesive social bonds, and evoking particular emotional responses. I apply this methodological approach, along with a socio-historical ii lens, to a variety of early Christian texts in order to argue that collective singing functioned as a critical medium in which early Christian authorities formulated their identity and defined the boundaries of 'correct' and 'incorrect' religious thought and practice. The melodies and lyrics used by some assemblies functioned as a rhetorical medium to denounce out-group theologies and practices while simultaneously operating as an instrument of recruitment. This study concludes that collective singing played a previously unidentified role in the success of early Christianity as a social movement through mechanisms of identity formation, social bonding, and recruitment of new members. iii Acknowledgements There are many people that have helped me throughout my academic journey as a doctoral student. I would like to thank my advisor John Kloppenborg who always provided insightful and timely feedback. His suggestions and advice have been invaluable and I am grateful to have had the opportunity to work with such an accomplished and renowned scholar. His vast wealth of knowledge on all things pertaining to religions of Mediterranean antiquity has been an incredibly valuable resource throughout my graduate studies at the University of Toronto. I also wish to thank my two committee members Colleen Shantz and Judith Newman for their comments and recommendations throughout the editing process. I am indebted to both of them and sincerely appreciate their willingness to engage with my work. I would also like to express my gratitude to my internal reader Simon Coleman for his participation on the committee and to Risto Uro, the external reader. These scholars have given me much to think about for future study from both cognitive and anthropological perspectives and I am enthusiastic about pursuing these avenues of inquiry. I would also like to thank the fantastic administrative team at the Department for the Study of Religion at the University of Toronto. Their expertise in navigating administrative matters and their willingness to help students at every stage of the program is much appreciated and has made life as a graduate student immeasurably easier. Thanks to Irene, Marilyn, and Fereshteh for all their help along the way. I am also incredibly grateful to my colleagues at the University of Manitoba in the Department of Religion who have been so supportive through the writing process. My iv department head, Ian Whicher, and my colleague at St. John’s College, Brenda Cantelo, have always had kind and encouraging words for me, especially during the more difficult times that writing a dissertation often brings. I could not have finished this dissertation without the unfailing support of my family and friends. My good friend and fellow grad student, Michelle Christian, cheered me on along the way and showed enthusiasm for my work and for this I will always be grateful. My soccer mate and friend for life, Charmaine Straker, has always been willing to meet for coffee to chat about the dissertation or about soccer when I needed a distraction. My wonderful parents, Rosella and Bruce Weimer, have been the greatest cheerleaders in my life. They have proudly celebrated my academic achievements and always helped me over the bumps along the way. This is just as much their accomplishment as it is mine. Lastly, my husband, Alex Bainov, is the best partner in life I could have ever found. He has always supported my decision to pursue a doctorate, even when it meant living apart for over two years. His computer expertise have saved me many times during the writing process and I have reached the finish line because of his love and encouragement. v TABLE OF CONTENTS ABSTRACT ................................................................................................................................................................. ii ACKNOWLEDGEMENTS ........................................................................................................................................ iv TABLE OF CONTENTS ........................................................................................................................................... vi CHAPTER 1: INTRODUCTION .............................................................................................................................. 1 INTRODUCTION ............................................................................................................................................................................. 2 THE SIGNIFICANCE OF MUSIC IN EARLY CHRISTIAN RITUAL ................................................................................................ 8 METHODOLOGIES ....................................................................................................................................................................... 12 ANTHROPOLOGY OF MUSIC & RITUAL THEORY .................................................................................................................... 17 SUMMARY .................................................................................................................................................................................... 25 CHAPTER 2: THE MUSICAL NATURE OF MEDITERRANEAN ANTIQUITY ........................................... 27 INTRODUCTION ........................................................................................................................................................................... 27 MUSIC IN THE GRECO-ROMAN WORLD .................................................................................................................................. 28 Greek Philosophical Discourse on Music .................................................................................................................... 30 Music and Greco-Roman Cultic Worship & Sacrifice ............................................................................................ 35 Ancient Greek Weddings & Funerals ............................................................................................................................ 38 Music in Greco-Roman Mystery Cults .......................................................................................................................... 41 The Greek Symposium ........................................................................................................................................................ 44 Greek Music and the Discourse of Magic and Healing ......................................................................................... 45 MUSIC & ANCIENT JUDAISM ..................................................................................................................................................... 47 Music in Jewish Sectarian Communities ..................................................................................................................... 49 Music at Qumran ........................................................................................................................................................................... 50 MusicaL Practices of the Therapeutae .................................................................................................................................. 55 Musical Practice in the Temple ...................................................................................................................................... 58 Music in the Synagogue ....................................................................................................................................................
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