An investigation into the phenomena and practices of spiritual ...

memories and physical responses‟ (Osterman 1998:94). She considers two categories ofmusic; liturgical or functional worship music and non-liturgical music based onreligious themes but not necessarily intended for worship.Music is an essential part of church worship and spiritual healing as health seekingbehaviour, and is of course part of the link between specific worship/ritual activitiesand everyday life. As Moodley and West (2005:5) say in their book on integratingtraditional healing practices with counselling and psychotherapy, „In some culturesmusic is used to ward off evil spirits‟. Music is used to bring calm and peace, toworship, to dispel evil and bring us closer to God as is shown in the work of Roseman(1991), Kirkpatrick (1996) and others discussed Chapter 2. Hutson (2000), postulatesthat although not explicitly a healing ritual, the rave in Western youth subculture hasbeen claimed as a form of healing, comparable both with shamanic healing and withspiritual experiences.There is, in fact, an interchange between music used for religious purposes and musicused for other purposes. This can sometimes be controversial when secular or “profane”music is appropriated for religious purposes or indeed the other way round. Beckford(2006) explores the „dialogue‟ between African-Caribbean dance hall and church hall,in his examination of the origins of black majority Pentecostal church music, and showshow religious music can be ambiguous about its use of secular techniques, even assecular music borrows gospel themes.Osterman (1998) and Etherington (2003) both give accounts of music or singingmeetings among Black slaves where music was popular particularly for those who285