An underlying fabric enfolds this collection of essays on Jain music and musicality, poetry and the poetic, a fabric woven of words and rhythm. These four essays, two on music, and two on the more musical aspects of spoken language, convey the complex ways in which orality contributes to cultured communication. To experience Jainism is to hear Jainism, chanted, sung, narrated, or shared. It may take the form of the sacred chanting of the Namokar Mantra or the much longer (and more recent) Bhaktamar Mantra or the enchanting stories of the 24 Tirthankaras or even today’s living saints. A cadence, a rhythm emerges that captures mood and intent, whether in the singing or the telling. The sound of Jainism takes shape through rhythm. ‘Rhythmic structure, like all aesthetic structure, is a symbolic form, signifying ways we experience organic processes and the phenomena of nature’ (Gross and McDowell 1996). Whether in the cadence of a song or in poetic meter, the presence of a beat accentuates meaning. Bob van der Linden skillfully demonstrates how Jain bhakti relies upon music to announce, to celebrate, and to teach theory, practice, and devotion. Illuminated manuscripts attest to the presence of singers, musical instruments, and beat-keeping dancers from the earliest days of Jain history. Melodies (rāgas) and rhythms (pada/tala) that perhaps emerged from traditional folk music continue to be brought into Jain gatherings by women who create singing circles, sharing songs of praise known as stavans in homes and temples and community centers. Whitney Kelting’s 2001 book Singing to the Jinas: Jain Laywomen, Mandal Singing and the Negotiations of Jain Devotion brought awareness of stavan to the forefront of religious scholarship. Her chapter, ‘Tracking Changes in Jain Devotional Singing’ updates this research and makes important observations. Whereas three decades ago a great deal of creativity and originality could be found in this tradition, technology has brought a cascade of change to the singing traditions of the Jains. First, the advent of the cassette tape allowed women to record their own compositions, which were deeply informed by folk music traditions. However, the cassette tape also allowed dissemination of a new style of music that includes male singers and increased influence from Bollywood film music such as a faster pitch and a tempered scale. Rather than pitching the hymns to their own speaking voice and enunciating the sometimes uneven number of syllables in a verse, attempts are made to shoe-horn songs into a more ‘modern,’ standardized performance. In the late 1990s and early 2000s, DVDs and CDs were often employed in Jain homes to create a multi-media experience of devotional music. Since the advent of streaming services and the use of headphones, private listening sessions have increased.

中文翻译：

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in那教歌的热爱与诗意叙事

基本的面料将有关Ja那教音乐和音乐性，诗歌和诗意的论文集（一种由文字和节奏编织而成的面料）包裹起来。这四篇论文，其中两篇涉及音乐，另外两篇涉及口语的更多音乐方面，传达了口头有助于文化交流的复杂方式。体验Ja那教就是聆听，高呼，歌唱，叙述或分享Ja那教。它可能采取的形式是：对纳莫卡真言的神圣诵经，更长或更久的《巴克塔玛尔真言》，对24提尔坦卡拉什人乃至当今的圣人的迷人故事。一个节奏，一种节奏可以捕捉到情绪和意图，无论是唱歌还是讲故事。in那教的声音通过节奏而成形。与所有美学结构一样，节奏结构是一种象征形式，表示我们体验有机过程和自然现象的方式”（Gross和McDowell 1996）。无论是在歌曲的节奏中还是在诗意的节奏中，节拍的出现都突显了意义。鲍勃·范德·林登（Bob van der Linden）巧妙地展示了Ja那教徒（Jain bhakti）如何依靠音乐来宣布，庆祝和教导理论，实践和奉献精神。Ja那教历史最早的时候，发光的手稿证明了歌手，乐器和节拍舞者的存在。可能是从传统民间音乐中产生的旋律（rāgas）和节奏（pada / tala）继续被创造歌唱圈的妇女带入Ja那教聚会，他们在家庭，寺庙和社区中心分享赞美的赞歌。惠特尼·凯尔汀（Whitney Kelting）在2001年出版的《向吉纳斯唱歌：:那教徒》曼达尔的演唱和Ja那教的谈判将斯塔凡的意识带到了宗教学术的最前沿。她的《追踪Ja那教歌唱中的变化》一章更新了这项研究并做出了重要的观察。三十年前，在这种传统中可以发现很多创造力和独创性，而技术却给Ja那教的演唱传统带来了一系列的变化。首先，盒式录音带的出现使妇女能够录制自己的作品，而民间音乐的传统深深地影响了这些作品。但是，盒式磁带也允许传播包括男歌手在内的新型音乐，并增加了宝莱坞电影音乐的影响力，例如音高更快，音阶更轻。与其将赞美诗按自己的说话声音调高，并在一段经文中说出有时不均匀的音节数量，不如尝试将喇叭的歌曲变成更“现代”的标准化演奏。在1990年代末和2000年代初，Ja那教徒的房屋经常使用DVD和CD来创建虔诚音乐的多媒体体验。自从流媒体服务和耳机的使用问世以来，私人收听会话已经增加。