Durham E-Theses Emotion in Congregational Singing: Music-Evoked Aect in Filipino Churches BACHORIK-JR, DOUGLAS,JOSEPH How to cite: BACHORIK-JR, DOUGLAS,JOSEPH (2020) Emotion in Congregational Singing: Music-Evoked Aect in Filipino Churches, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13497/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 1 Emotion in Congregational Singing: Music-Evoked Affect in Filipino Churches Douglas Bachorik Jr Durham University 2019 2 Emotion in Congregational Singing: Music-Evoked Affect in Filipino Churches Douglas Bachorik Jr Abstract The link between music and emotion is essential for understanding the importance of music in life. A significant variety of research has focused on perceived emotion in musical sound and music-evoked emotion in listening. However, what performers experience has only recently begun to attract scholarly attention. Research in non-performance music activities, such as communal singing or simply “jamming” with friends, is sparse. This thesis aims to answer the following questions about the latter: Do singers experience actual emotion while singing? If so, do such experiences fit with prevailing emotion models? What lingering effects come from emotion in music- making? The answers to these questions may promote the understanding of music and emotion in several fields of study, such as cognitive musicology, music therapy, music in education, and congregational music studies. An examination of congregational singing addresses these Questions. Two aspects of the activity suggest broader applications of the findings: communal singing does not include the elements of practice and performance inherent in choral music; and many Christian congregations sing for distinctly non-music goals, such as theological instruction, spiritual maturation, or a palpable engagement with God. Two Filipino Baptist churches with strong singing traditions agreed to an in-depth study of their congregational singing experiences to help answer the research questions. The research was shaped by the use of the Component Process Model (CPM), a framework rooted in the idea that emotion is primarily a cognitive experience. A combination of ethnographic surveys and phenomenological interviews was used to gather data about the theological expectations of and personal experiences in congregational singing. The data was then examined through the lens of the CPM. The results of the study are presented after chapters detailing emotion theories, the theological perspectives of the case study churches, methodology, and descriptions about the churches and their congregational song repertory. A final chapter presents other pertinent findings. The triangulation of emotion theory, theology of emotion, and phenomenology of emotion in performative music activity created for this thesis offers a significant approach to further study the complexity of emotion experience in communal singing and other music-making experiences. 3 Emotion in Congregational Singing: Music-Evoked Affect in Filipino Churches Douglas Joseph Bachorik Jr Ph.D. Department of Music Durham University 2019 4 5 Table of Contents Table of Figures…………………….……………………………………………………………………………………8 Acknowledgements………………….………..……………………………………………………..………………10 Dedication…………………………………………………….……………………………………………………………11 Glossary……………….……………………………………………….……………………………………………………12 Introduction………………………………………………………………..…………………………………………….15 1 CHAPTER ONE: THEORIES OF EMOTION .............................................................. 19 1.1 DIFFICULTIES IN DEFINING EMOTION ..................................................................................... 19 1.1.1 Families of emotion theories ..................................................................................... 21 1.1.2 Families of integrative emotion theories .................................................................. 28 1.1.3 Working description of emotion .............................................................................. 37 1.1.4 Emotion versus Affect ............................................................................................... 39 1.2 THEORIES OF MUSIC EMOTION ............................................................................................... 41 1.2.1 Preliminary issues ..................................................................................................... 43 1.2.2 Trends in music-emotion theory .............................................................................. 46 1.2.3 Section conclusion .................................................................................................... 48 1.3 CONCLUSION ........................................................................................................................ 49 2 CHAPTER TWO: CONGREGATIONAL SINGING AND THEOLOGICAL EXPECTATIONS ................................................................................................................. 51 2.1 INTRODUCTION – WHY USE CHURCHES .................................................................................. 51 2.2 BROAD CULTURAL CONSIDERATIONS ................................................................................. 51 2.2.1 Emotion in the Philippines ......................................................................................... 51 2.2.2 Singing in the Philippines .......................................................................................... 53 2.3 THEOLOGY OF EMOTION ...................................................................................................... 53 2.3.1 Evangelicals on emotion ........................................................................................... 56 2.3.2 Recent Evangelical thought on emotion .................................................................. 64 2.3.3 Theological perspectives more directly related to the case study churches ........... 69 2.3.4 Conclusion to section ............................................................................................... 70 2.4 THEOLOGY OF MUSIC AND MUSIC-EMOTION .................................................................... 70 2.4.1 Music and theology ................................................................................................... 70 2.4.2 Music emotion ........................................................................................................... 88 2.4.3 Conclusion to theology of music and music-emotion ............................................. 89 2.5 CONCLUSION ................................................................................................................... 90 3 CHAPTER THREE: METHODOLOGIES FOR EXAMINING THE EXPERIENCE OF AFFECT IN CONGREGATIONAL SINGING ....................................................................... 91 3.1 INTRODUCTION TO THE METHODOLOGY ............................................................................... 91 3.2 METHODOLOGY PROPER ....................................................................................................... 93 3.2.1 Development of the specific tools ............................................................................. 93 3.2.2 Review of theories ..................................................................................................... 93 3.2.3 Defense of mixed methodologies .............................................................................. 95 3.3 PHENOMENOLOGICAL TOOLS ............................................................................................... 97 3.3.1 Basic concepts of phenomenology ............................................................................ 98 3.3.2 The role of the researcher ......................................................................................... 101 3.3.3 Tools: interviews/surveys/diaries ............................................................................ 102 3.3.4 Coding of responses analysis ................................................................................... 107 3.3.5 Self-reflection ........................................................................................................... 108 3.3.6 Limitations and challenges ...................................................................................... 108 3.4 ETHNOGRAPHIC TOOLS .................................................................................................... 110 6 3.5 CONCLUSION ........................................................................................................................ 111 4 CHAPTER FOUR: CULTURAL CONTEXTS AND SONG REPERTOIRES ................. 112 4.1 DESCRIPTION OF CASE STUDY CHURCHES ............................................................................. 114 4.1.1 Manila Baptist Church (MBC) .................................................................................