Douglas Bachorik | Maranatha Baptist University (original) (raw)
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4E-refers to a collection of perspectives about the mind where the mind is viewed as more than th... more 4E-refers to a collection of perspectives about the mind where the mind is viewed as more than the physical brain; the 4 Es are: extended mind, embodied mind, enactive mind, embedded mind ABWE-Association of Baptists for World Evangelism adult-a person 18 years and above AFBCP-Association of Fundamental Baptist Churches in the Philippines affect-a general term for emotion-related experiences, including feelings, emotion, and mood BBSI-Baptist Bible Seminary and Institute Christian music-any music that has specifically Christian lyrics or music without lyrics that is purposefully and regularly used as a part of a Christian worship service church member-a person who has formally joined the particular church, having made a profession of faith, been baptized, and voted into membership, is in good standing (not under church discipline), and is aged 18 or older congregation member or congregant-a person who is an adult and either a church member or a regular attendee congregational songs-songs of any musical genre, time period, or style that were created specifically for congregational use (as opposed to special music); also, songs that have become commonly used in congregational singing, although originally created for other types of performance CPM-Component Process Model CWS-Contemporary Worship Songs Discipleship-the intentional training, correcting, and encouraging of a Christian to develop spiritual maturity; related to sanctification and Christian formation ESV-English Standard Version of the Bible FFBC-Faith Fundamental Baptist Church GARBC-General Association of Regular Baptist Churches GEMIAC-Geneva Music-Induced Affect Checklist GEMS-Geneva Emotional Music Scale Gospel song-long 19 th century congregational songs that were developed alongside the revivalist and Sunday school movements in the USA, e.g., songs of Ira Sankey, Fanny Crosby, William Doane, and Philipp Bliss Hymn-18 th century and earlier congregational songs of Protestantism, primarily from Europe and North America, e.g., songs of Isaac Watts, Charles Wesley, and Joachin Neander KJV-King James Version of the Bible, also known as the Authorized Version MBC-Manila Baptist Church MEA-Music-Evoked Affect NASB-New American Standard Bible NIV-New International Version of the Bible NKJV-New King James Version of the Bible Performative-active music making, but not performance-oriented; unrehearsed; 'performed' by and for the same people simultaneously; e.g., congregational singing in the Christian tradition, shape-note singing, communal singing in a class room or at a patriotic celebration PMEA-Performative Music-Evoked Affect regular attender-an adult who normally attends at least one public service per week RMEA-Receptive Music-Evoked Affect Sanctification (progressive sanctification)-the process by which a professing Christian takes on the characteristics of Jesus Christ in daily life secular music-any music that has no clearly or overtly religious lyrics, or music without lyrics that is not purposefully and regularly used as a part of a worship service SEM-Strong Experiences with Music special music-songs presented in a church service by a choir, soloist, or ensemble (as opposed to congregational music) Taglish-the colloquial combination of Tagalog and English used in the Philippines 1 Douglas Bachorik, A Feasibility Study on Cross-Culturally Perceived Emotion in Music (Quezon City, 2012). 2 The use of the term performative here should not be confused with other uses of the term in various areas of research, such as Brad Haselman's proposal for a performative research methodology (
Durham University, 2020
The link between music and emotion is essential for understanding the importance of music in life... more 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.
Douglas Bachorik's review of D. R. M. Irving's book Colonial Counterpoint: Music in Early... more Douglas Bachorik's review of D. R. M. Irving's book Colonial Counterpoint: Music in Early Modern Manila .
The theological concept of the body of Christ sees a church congregation as a single, living orga... more The theological concept of the body of Christ sees a church congregation as a single, living organism. Because of this, it may be profitable to examine music-induced emotion in this corporate body as if in an individual one. Klaus Scherer and others have developed the Component Process Model (or CPM) as a comprehensive framework for exploring emotion experience in individuals, including emotion stimulated by music. Because of this, I would like to suggest that the CPM may be an effective framework with which to examine musical experience in congregational singing. Perhaps by reinterpreting appraisal theories of individual emotion states and applying them to a corporate body, we may better understand both group emotion and religious emotion experiences.
Global Forum On Arts and Christian Faith, 2013
Performances and miscellany by Douglas Bachorik
A list of conducting highlights and other profession activities
Book chapters by Douglas Bachorik
4E-refers to a collection of perspectives about the mind where the mind is viewed as more than th... more 4E-refers to a collection of perspectives about the mind where the mind is viewed as more than the physical brain; the 4 Es are: extended mind, embodied mind, enactive mind, embedded mind ABWE-Association of Baptists for World Evangelism adult-a person 18 years and above AFBCP-Association of Fundamental Baptist Churches in the Philippines affect-a general term for emotion-related experiences, including feelings, emotion, and mood BBSI-Baptist Bible Seminary and Institute Christian music-any music that has specifically Christian lyrics or music without lyrics that is purposefully and regularly used as a part of a Christian worship service church member-a person who has formally joined the particular church, having made a profession of faith, been baptized, and voted into membership, is in good standing (not under church discipline), and is aged 18 or older congregation member or congregant-a person who is an adult and either a church member or a regular attendee congregational songs-songs of any musical genre, time period, or style that were created specifically for congregational use (as opposed to special music); also, songs that have become commonly used in congregational singing, although originally created for other types of performance CPM-Component Process Model CWS-Contemporary Worship Songs Discipleship-the intentional training, correcting, and encouraging of a Christian to develop spiritual maturity; related to sanctification and Christian formation ESV-English Standard Version of the Bible FFBC-Faith Fundamental Baptist Church GARBC-General Association of Regular Baptist Churches GEMIAC-Geneva Music-Induced Affect Checklist GEMS-Geneva Emotional Music Scale Gospel song-long 19 th century congregational songs that were developed alongside the revivalist and Sunday school movements in the USA, e.g., songs of Ira Sankey, Fanny Crosby, William Doane, and Philipp Bliss Hymn-18 th century and earlier congregational songs of Protestantism, primarily from Europe and North America, e.g., songs of Isaac Watts, Charles Wesley, and Joachin Neander KJV-King James Version of the Bible, also known as the Authorized Version MBC-Manila Baptist Church MEA-Music-Evoked Affect NASB-New American Standard Bible NIV-New International Version of the Bible NKJV-New King James Version of the Bible Performative-active music making, but not performance-oriented; unrehearsed; 'performed' by and for the same people simultaneously; e.g., congregational singing in the Christian tradition, shape-note singing, communal singing in a class room or at a patriotic celebration PMEA-Performative Music-Evoked Affect regular attender-an adult who normally attends at least one public service per week RMEA-Receptive Music-Evoked Affect Sanctification (progressive sanctification)-the process by which a professing Christian takes on the characteristics of Jesus Christ in daily life secular music-any music that has no clearly or overtly religious lyrics, or music without lyrics that is not purposefully and regularly used as a part of a worship service SEM-Strong Experiences with Music special music-songs presented in a church service by a choir, soloist, or ensemble (as opposed to congregational music) Taglish-the colloquial combination of Tagalog and English used in the Philippines 1 Douglas Bachorik, A Feasibility Study on Cross-Culturally Perceived Emotion in Music (Quezon City, 2012). 2 The use of the term performative here should not be confused with other uses of the term in various areas of research, such as Brad Haselman's proposal for a performative research methodology (
Durham University, 2020
The link between music and emotion is essential for understanding the importance of music in life... more 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.
Douglas Bachorik's review of D. R. M. Irving's book Colonial Counterpoint: Music in Early... more Douglas Bachorik's review of D. R. M. Irving's book Colonial Counterpoint: Music in Early Modern Manila .
The theological concept of the body of Christ sees a church congregation as a single, living orga... more The theological concept of the body of Christ sees a church congregation as a single, living organism. Because of this, it may be profitable to examine music-induced emotion in this corporate body as if in an individual one. Klaus Scherer and others have developed the Component Process Model (or CPM) as a comprehensive framework for exploring emotion experience in individuals, including emotion stimulated by music. Because of this, I would like to suggest that the CPM may be an effective framework with which to examine musical experience in congregational singing. Perhaps by reinterpreting appraisal theories of individual emotion states and applying them to a corporate body, we may better understand both group emotion and religious emotion experiences.
Global Forum On Arts and Christian Faith, 2013
A list of conducting highlights and other profession activities