Liturgical music in a new Japanese religion : the formation, survival and repositioning of tenrikyo through music

The Japanese religion, Tenrikyo, has a well-established reputation as one of the oldest 'new' Japanese religions still in existence. Its endurance over nearly two centuries might be partly explained by the many musical genres used in activities undertaken by its followers, because Tenrikyo music can draw on both traditional and contemporary themes, and employs a variety of styles. This thesis explores the way that music shapes and consolidates the Tenrikyo identity, has enabled it to become known to the world outside the religion, and has laid foundations for its future through propagation. Central to its followers' identity is a reported state of contentment and happiness through devotion and unconditional help. This includes regular participation in music making and service to others, which underpins the movement's efforts to generate innovative educational strategies, foster advanced artistic growth, and promote the meaningful representation of its principles to the global community. At the foundation of this research lies an ethnographic approach: I adopted a qualitative approach to data collection during my three phases of fieldwork in Australia and Japan. Methods included observation, informal and structured interviews, school visits in Japan and Australia, and the use of questionnaires in the Japanese cities of Tenri and Nagoya. Concerts, festivals, music rehearsals and open days, as well as liturgical celebrations, were attended and documented. This study finds that Tenrikyo displays an array of colourful musical genres, some of which originate in the seventh century, while others are derived from recently commissioned compositions. This musical repertory adds prestige and distinction to Tenrikyo's spiritual profile. In addition, Tenrikyo's missionary endeavours accentuate its international presence through contemporary music concerts and traditional Japanese arts tours. Findings from this research suggest that global exposure and dissemination are associated with a greater public prominence for Tenrikyo. Tenrikyo perpetuates and reinvents its spiritual identity by providing opportunities for continual aural awareness through its musical programs, and the well-structured diffusion and propagation of its music both in Japan and overseas. Simultaneously, however, this outward openness is countered by the systematic inner concealment of official scores and records of Tenrikyo's most iconic music. Not surprisingly, much of this secrecy is generated through a wish to protect the sacred legacy of Tenrikyo's liturgy. It applies not only to doctrinal lyrics, but also to sacred music, choreography, costumes, masks, books, and musical transcriptions. Extraordinarily, this secrecy extends to printed and audio-visual records of Tenrikyo's non-liturgical music as well. Important secular compositions are shrouded in an aura of mystery with their full scores withheld from circulation, yet paradoxically, are simultaneously promoted publicly through music competitions and large-scale concerts. I call this phenomenon 'The Tenrikyo Paradox'. I conclude that music plays an important role in constantly shaping and consolidating Tenrikyo's identity, by attracting, engaging and retaining members, and in connecting with outsiders through a rich variety of musical styles. This, in turn, allows members to carry out the processes of Tenrikyo's ongoing propagation and educational goals, and ultimately, of securing the religion's continuing survival