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Coles New Religions, Spiritualities, and Popular Music at Village Green Shopping Centre in Vernon, BC
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This is the first volume to examine the relationship between new religions, alternative spiritualities, and popular music, whether in theatrical productions, such as The Book of Mormon , or in the ways in which an organization such as Scientology uses music. The internationally recognized scholars examine both the ways in which devotion to a band can lead to the establishment of a new religion, such as the Grateful Dead and the Church of Ultimate Devotion, and the ways in which new religions use popular music evangelistically, ritualistically, and as a source of income. It also looks at the significance of popular music for 'cult leaders,' such as Charles Manson, and the extent to which new religious beliefs shape the work of particular musicians and groups. What emerges is a picture in which religious beliefs and popular music cultures cross-fertilize each other in unexpected and fascinating ways. The volume covers popular music in relation to groups that stem from world religions, such as Mormonism; alternative spiritualities, such as the New Age Movement; and new religions linked to particular musicians and groups. Interdisciplinary in its approach, this book draws on work from the study of new religions, the sociology of religion, popular music studies, ethnomusicology, and critical musicology.
This is the first volume to examine the relationship between new religions, alternative spiritualities, and popular music, whether in theatrical productions, such as The Book of Mormon , or in the ways in which an organization such as Scientology uses music. The internationally recognized scholars examine both the ways in which devotion to a band can lead to the establishment of a new religion, such as the Grateful Dead and the Church of Ultimate Devotion, and the ways in which new religions use popular music evangelistically, ritualistically, and as a source of income. It also looks at the significance of popular music for 'cult leaders,' such as Charles Manson, and the extent to which new religious beliefs shape the work of particular musicians and groups. What emerges is a picture in which religious beliefs and popular music cultures cross-fertilize each other in unexpected and fascinating ways. The volume covers popular music in relation to groups that stem from world religions, such as Mormonism; alternative spiritualities, such as the New Age Movement; and new religions linked to particular musicians and groups. Interdisciplinary in its approach, this book draws on work from the study of new religions, the sociology of religion, popular music studies, ethnomusicology, and critical musicology.
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