My recent posts about the recruitment techniques used by new religious movements and their parallels with choral recruitment practices made an implicit connection between the sociology of religion and the sociology of charisma. I thought it might be useful to make this connection a bit more explicit, but didn’t want to get distracted in the midst of all the choral detail, so the subject has a separate post of its own.

Now, both branches of sociology have a common origin in the work of Max Weber.* But they’ve not been as closely interlinked in the literature (as far as I can see) as you might expect from that. Weber was the first to propose the distinction between church and sect that has informed much of the sociology of new religious movements, but he stopped writing about it once Ernst Troeltsch picked it up and developed it.

As of 13 January 2012 I am available for new arranging projects again! So, for all of you who have been asking me while I was all booked up, thank you for your patience.

With this new intake, I am changing the procedures for accepting commissions and seeking copyright permissions, such that you get the agreement in principle before making the commission. There are guidelines for how to do this (for UK customers) on the Bespoke Arrangements page of this site.

This may seem like an extra fuss, but the reason I have decided to try doing it this way is to avoid a number of difficulties ensembles and I have encountered in leaving the requests until after the arrangements are done. These include:

I recently read Robin Stuart-Kotze’s book Performance: The Secrets of Successful Behaviour. I picked it up wondering if it was going to be one of the business-management genre books that have been feeding into my charisma project. Not directly, it turns out, and where it does, mostly by contrast. Nonetheless, it proved a stimulating read, both in the dimensions in which I found myself persuaded, and in those where I found myself wanting to argue back. (Possibly that is the definition of a stimulating book!)

Anyway, one of the areas I found particularly useful was where he discusses performance-blocking behaviours – i.e. those habits and forms of interaction that actively prevent people from doing well. The problem with these is not just that they are counter-productive, but also that they are highly contagious. So one person’s blocking behaviours very quickly inspire similarly unhelpful habits in others.

Just before Christmas, a friend showed me this video entitled 'One-Moment Meditation'. Its basic premise was that meditative techniques don’t necessarily require a special time and place and commitment, but can be integrated into our daily lives and still have a positive impact.

In addition to its primary message, it set off two related trains of thought.

Back before Christmas, Tom Carter came over here and engaged in some really productive debate in response to my post on Stanislavski and Schenker. (Joke on me: I had wondered whether it was going to be an excessively obscure subject, but got probably the most response I’ve had for ages. Shows the limits of my predictive power!) This post is a follow-up to a couple of loose ends that got left dangling.

First, Tom asked:

So, could you talk more about the performances you experienced in which the singers identified local objectives without integrating them into a super-objective? Or those in which they had detail but missed on the global?

This is a continuation of my last post on the techniques cults use for thought reform and their parallels in the worlds of choral recruitment and choral discipline.

Reminder: while it does make somewhat disturbing reading in places, we need to remember that new religious movements aren't necessarily or inherently malign. And, whilst I first started down this track of using the sociology of religion to analyse singing organisations because of the evangelical language used by choral enthusiasts ('Let's spread the word!'), I am of course using the word cult for deliberately provocative purposes. I find it challenges me to think more deeply, and am hoping it has the same effect on you.

So, to continue our list:

I was listening recently to a Stuff You Should Know podcast about cults and thought reform, and it made me notice how a number of areas I have been interested in as both scholar and musician interact even more than I had already noticed.

The first is my discussion in my first book of how barbershop positions itself relative to the musical mainstream in analogous ways to the way a sect positions itself relative to established churches. The second is the discussion in my second book of the disciplinary techniques that choirs of all kinds use to ‘convert’ the raw material of people into appropriately thinking and behaving choral singers. The third is my current research interest into the mechanisms of charisma in conductors and performers – which has led me right back to the sociology of Max Weber I was dealing with in the first.

A couple of years ago, I was mulling over the challenges that semantic depletion presents for performers. This is where repetition of an individual word sound (or musical element) gradually renders it meaningless by stripping it from its linguistic (or musical) context. The problem for performers is that rehearsal necessarily involves lots of repetition: so how do you refine and perfect your execution of the performance without detaching yourself from its meaning?

More recently, though, I’ve been finding that there are situations in which semantic depletion can work in your favour.