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•Twenty-one randomised clinical studies were included in the systematic review.•The meta-analysis showed that Sufi music therapy reduced symptoms of state anxiety.•There was a high level of heterogeneity among studies in the meta-analysis.•The evidence of Sufi music’s effect on anxiety was rated as very low.•Sufi music may reduce depression, clinical symptoms of schizophrenia, and stress. There is some evidence that Sufi music therapy might improve physical and mental well-being; however, no systematic review or meta-analysis has pooled and critiqued the evidence. The aim of this systematic review was to evaluate the effects of Sufi music therapy on mental health outcomes. We searched Medline, PsycINFO, the Web of Science, Science Direct, PsycARTICLES, Cochrane Library, SCOPUS, CINAHL Plus, AMED, and ULAKBIM databases, and the reference lists of the studies found. Papers published in academic peer-reviewed journals were included, as well as from other sources such as chapters in edited books, the grey literature, or conference presentations. Articles published up to March 2020 in Turkish and English were included. Our primary outcome of interest was anxiety and secondary outcomes of interest were other mental health outcomes such as depression. To assess the methodological quality of the articles, the Cochrane Risk of Bias Tool was used. The quality of evidence was assessed using the GRADEpro GDT system. This search yielded 21 clinical trials that were eligible for inclusion. A meta-analysis, using a random effects model, of 18 randomised controlled trials involving 1454 participants showed that Sufi music therapy with makams, compared with treatment as usual (TAU) or a no-music control group, reduced symptoms of anxiety in the short term in patients undergoing an operation or treatments such as chemotherapy or haemodialysis (standardised mean difference SMD= −1.15, 95 % CI, −1.64 to −0.65; very low-quality evidence). The evidence of Sufi music with makam's effect on anxiety is rated as very low. Qualitative synthesis of secondary outcomes revealed significant effects for depression, positive symptoms in schizophrenia, stress, which however were based on fewer studies. Trials were of moderate methodological quality, and there was significant heterogeneity across the studies. Sufi music may reduce anxiety of patients undergoing medical procedures like haemodialysis, coronary artery surgery, angiography, colonoscopy, bone marrow aspiration and biopsy procedures. Evidence from single studies suggests effects on depression and stress as well. However, due to methodological limitations of the studies, further, higher quality studies are required in other cultures.

Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape.Reds, Whites, and Bluesexamines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 40s, and the Civil Rights Movement of the 1950s and 60s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes. Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the Civil Rights Movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the Civil Rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as \"folk\" and how the music's status as racially inclusive was not always a given. Examining folk music's galvanizing and unifying power,Reds, Whites, and Bluescasts new light on the relationship between cultural forms and social activity.

The Great Migration was the most significant event in black life since emancipation and Reconstruction. Passionately Human, No Less Divine analyzes the various ways black southerners transformed African American religion in Chicago during their Great Migration northward. A work of religious, urban, and social history, it is the first book-length analysis of the new religious practices and traditions in Chicago that were stimulated by migration and urbanization. The book illustrates how the migration launched a new sacred order among blacks in the city that reflected aspects of both Southern black religion and modern city life. This new sacred order was also largely female as African American women constituted more than 70 percent of the membership in most black Protestant churches. Ultimately, Wallace Best demonstrates how black southerners imparted a folk religious sensibility to Chicago's black churches. In doing so, they ironically recast conceptions of modern, urban African American religion in terms that signified the rural past. In the same way that working class cultural idioms such as jazz and the blues emerged in the secular arena as a means to represent black modernity, he says, African American religion in Chicago, with its negotiation between the past, the present, rural and urban, revealed African American religion in modern form.

This article elucidates the rhetorical framework within which the new culture of popular sacred music flourished in both Protestant and Catholic Reformations, focusing on , the ancient manner of ecclesiastical singing reconstructed by the humanists as an embodiment of . It discusses how metrical psalmody and oratorios, originating from the and aimed at edifying the laity, paved the way for modern hymnody and church cantatas respectively – the new music which facilitated the promotion of Christian spirituality and virtue by appealing to emotion. Considering the cultural development of popular sacred music the article demonstrates that in combining moral education with Christian devotion the lies at the heart of lay spiritual music shaped by the Reformation.

In Culture on the Margins, Jon Cruz recounts the \"discovery\" of black music by white elites in the nineteenth century, boldly revealing how the episode shaped modern approaches to studying racial and ethnic cultures. Slave owners had long heard black song making as meaningless \"noise.\" Abolitionists began to attribute social and political meaning to the music, inspired, as many were, by Frederick Douglass's invitation to hear slaves' songs as testimonies to their inner, subjective worlds. This interpretive shift—which Cruz calls \"ethnosympathy\"—marks the beginning of a mainstream American interest in the country's cultural margins. In tracing the emergence of a new interpretive framework for black music, Cruz shows how the concept of \"cultural authenticity\" is constantly redefined by critics for a variety of purposes—from easing anxieties arising from contested social relations to furthering debates about modern ethics and egalitarianism.

Stuckey writes that too often, the tendency has been to approach the songs as a musical form only, unrelated to dance rhythms and unrelated to ritual.4 However, as even the most cursory historical examination will attest, these sacred songs were developed as part of a larger complex of African American religiosity, which is essential to understanding their nineteenth century meaning, their continuing influence and their profound connection to Black religions all over the Western hemisphere. The Afro-Atlantic Diaspora as a Meaning of Religion Throughout the Americas, from Boston in New England to Montevideo in the Viceroyalty of La Plata, in every place where African women, men and children were enslaved, there emerged cultural and religious forms reflecting the particular complexities, terrors and exigencies of each situation.\\n In the New World, he noted, receiving the Spirit is a more widespread occurrence.17 The relatively more common experience of possession and initiation into the service of the orixás and lwos on this side of the Atlantic is perhaps a reflection of the effects of the physical and psychic disjunctions caused by the Middle Passage and slavery.

Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/

Volume 1 of Nothing but Love in God’s Water traced the music of protest spirituals from the Civil War to the American labor movement of the 1930s and 1940s, and on through the Montgomery bus boycott. This second volume continues the journey, chronicling the role this music played in energizing and sustaining those most heavily involved in the civil rights movement. Robert Darden, former gospel music editor for Billboard magazine and the founder of the Black Gospel Music Restoration Project at Baylor University, brings this vivid, vital story to life. He explains why black sacred music helped foster community within the civil rights movement and attract new adherents; shows how Martin Luther King Jr. and other leaders used music to underscore and support their message; and reveals how the songs themselves traveled and changed as the fight for freedom for African Americans continued. Darden makes an unassailable case for the importance of black sacred music not only to the civil rights era but also to present-day struggles in and beyond the United States. Taking us from the Deep South to Chicago and on to the nation’s capital, Darden’s grittily detailed, lively telling is peppered throughout with the words of those who were there, famous and forgotten alike: activists such as Rep. John Lewis, the Reverend Ralph Abernathy, and Willie Bolden, as well as musical virtuosos such as Harry Belafonte, Duke Ellington, and The Mighty Wonders. Expertly assembled from published and unpublished writing, oral histories, and rare recordings, this is the history of the soundtrack that fueled the long march toward freedom and equality for the black community in the United States and that continues to inspire and uplift people all over the world.

This chapter contains sections titled: American Catholics: From Ellis Island to Long Island American Jews: “From Krakow to Krypton” African Americans: From Spirituals to Swing White Evangelicals: From Whitefield to Presley Spiritual Seekers: “On the Road” Contemporary Myth: Baseball and Tourism Conclusion: Globalization, Coca‐Cola and “Get Away Jordan” Bibliography