By Benjamin D. Koen
Whereas Western drugs has conventionally separated tune, technology, and faith into targeted entities, conventional cultures in the course of the global have constantly seen track as a bridge that connects the actual with the religious. Now, as humans in even the main technologically complicated international locations around the globe fight with acquiring cheap and trustworthy healthcare insurance, an increasing number of everyone is turning to those historical cultural practices of ICAM therapeutic (integrative, complementary, and replacement medicine).
With Beyond the Roof of the World, Dr. Benjamin D. Koen finds the Western separation of therapeutic from religious and musical practices as a culturally decided phenomenon, and proves the relevance of clinical ethnomusicology in mild of the globally spreading ICAM therapeutic practices. utilizing the tradition chanced on in the towering Pamir Mountains of Badakhshan Tajikistan, in a spot poetically referred to as the Roof of the realm, because the paradigm of ICAM therapeutic, Koen exhibits spirituality and musicality to be in detail intertwined with one's actual lifestyles, well-being and therapeutic. For the 1st time, Koen bridges the common hole among ethnomusicology and tune treatment. Koen's broad study and emersion into the Badakhstan tradition presents the reader with an "insider" standpoint whereas retaining an "observer's" view, as he infuses the textual content with appropriate scholarship.
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Extra info for Beyond the Roof of the World: Music, Prayer, and Healing in the Pamir Mountains
They don ’t know how to look ’” (Doidge 2007, 303–04). This last statement is another example of Varela ’s observation mentioned above in relation to Descartes unmindful reﬂection, namely, that our questions, thoughts, and perceptions are manifestations of our particular neurocognitive state. What is particularly exciting, inasmuch as it is in harmony with the ontology of oneness, and thereby accords the utmost respect to crosscultural interaction within a shared world, is that culture-speciﬁc capacities can be learned cross-culturally.
Overwhelmingly, music’s power to promote health and healing is inextricably interwoven with cultural and religious beliefs and devotional practices—the foremost practice being prayer. Over the last decade, multiple ethnographic and biomedical studies have investigated the role of music or prayer in healing (see, for the five factors of music, prayer, health, and healing 27 example, Friedson 1996; Laderman and Roseman 1996; Ai et al. 1998; Koenig 1998; Larson et al. 1998; Sicher et al. 1998; Harris et al.
1998; Koenig 1998; Larson et al. 1998; Sicher et al. 1998; Harris et al. 1999). That research clinically explores the effects of prayer, spirituality, and religiosity on healing without critically considering the role of sound or music in prayer, or the loaded meanings inherent in different cultural practices and belief systems. When music is performed for or in the context of healing, it often is prayer, functions as prayer, or is intimately interwoven with prayer. Prayer, when employed for healing, can often only be rendered in a certain musical, sung, chanted, intoned, vocalized, or instrumental form for it to be efﬁcacious.