| Abstract [eng] |
Sound holds a special place in many faith systems, including Christianity. Sound is a symbol and an essential part of the creative power in Christianity. This suggests that there is something sacred about the nature of sound and its creative power. This notion had me wondering – how do electronic music composers who hold Christian beliefs shape their compositions? Do they directly reference a certain faith system or keep their beliefs hidden, allowing the sound speak for itself, as sacred enough? There is a lot of discussion about the influence of spirituality on electronic and electroacoustic music, however, not in regards to a specific faith system, in case of my interest - Christianity. Thus, through an overview of historical context and analysis of several cases, the goal of this research is to learn more about and expand the understanding of how Christian spirituality is reflected in the compositions of contemporary 21st century musicians who write electronic/electroacoustic music, profess the Christian faith, and how it influences their work. Part of my methodology involves interviews and analyzing my own composition. I am using Susan Frykberg’s spiritual expressions’ classification system to analyze four composers/artists – Susan Frykberg, “1921” (David Åhlén and Andreas Eklöf), Kinnship (formerly Favela) and Eikon. In doing that, I point out Christian themes in the samples of their work, and then analyze my piece in the same way. |
