Background
Who sings, who, where and when?
Music & sounds
From liturgical songs to trance music, from lonely breath to large assemblies: thirty traditions put back in their history, then ten paths to learn to listen with attention and respect.
The Orabel method
Each entry distinguishes ritual practice, concert music and contemporary adaptations. Listening links open a targeted search on an external platform; Orabel does not host any recordings.
Who sings, who, where and when?
Simple cues to hear voices, rhythm, text and silence.
Artists, albums and archives integrated directly into each entry.
Public songs are distinguished from reserved knowledge or rituals.
First four stops
Proclamation, devotion, collective offering or personal creation: the word "spiritual" does not mean a single sound.
Western Europe
Gregorian chant is the main Latin plain-chant repertoire of the Roman Catholic Church. Monodic and normally unaccompanied, it organizes the proclamation of texts of the Mass and offices according to melodic modes transmitted by manuscripts and then by choral teaching.
Indian subcontinent
qawwali is a form of Sufi devotional music in South Asia, particularly related to the Shishtiyya and the shrines of saints. A soloist, a chorus of respondents and percussionists increase the intensity around poems in Persian, Urdu, Hindi, Punjabi or other languages.
Bali, Indonesia
In Bali, the word gamelan refers to the ensemble of instruments and the musicians who play it. Many types of gamelan accompany temples, processes, cremations, dances and theatre. Not all are sacred and their functions are not interchangeable.
United States and then international scene
的Spiritual jazz
10 guided listening journeys
Each course offers an order, duration and precautions. It does not claim to cause a particular condition or to reproduce a ceremony.
Be careful calm · 35 to 50 min
Collection · 40 to 60 min
Devotion · 35 to 55 min
Communion · 30 to 45 min
Memory and Landscape · 35 to 50 min
Lamentation and hope · 45 to 65 min
Collective joy · 35 to 55 min
Intensity · 45 to 70 min
Appeasement · 25 to 35 min
Introduction · 70 to 95 min
Sound Atlas
Look for a tradition, region, instrument, artist or function such as prayer, celebration or transmission.
30 traditions displayed
Western Europe
Gregorian chant is the main Latin plain-chant repertoire of the Roman Catholic Church. Monodic and normally unaccompanied, it organizes the proclamation of texts of the Mass and offices according to melodic modes transmitted by manuscripts and then by choral teaching.
Eastern Mediterranean and Orthodox Worlds
Byzantine chanting refers to a monodic liturgical tradition linked to the Byzantine rite churches. The Greek, Arabic, Slavic, Romanian, Georgian and other worlds have developed distinct ways of singing, however: to gather them under a single label should not erase this plurality.
United States, African-American communities
Spirituals are religious songs created by Africans who are enslaved and their descendants in the United States. The modern gospel is then born from the traditions of the Black Church, blues, anthems and urban innovations. They are related, but not a single timeless genre.
Taizé, Burgundy, France
The songs of Taizé are short biblical or liturgical phrases, repeated in canon or ostinato. They were developed for the prayer of the ecumenical community and the welcome of thousands of young people speaking different languages.
Jewish communities in the Middle East, Europe and Diaspora
The biblical cantilation puts the Torah, the Prophets and other books into the voice according to signs called te-a-amim. These indicate both accentuation, syntax and melodic outline. Psalms and prayers have other sung uses, varying strongly according to rites.
Eastern Europe, Hasidic communities
A nigun is a devotional melody; many hassidic nignums use syllables without lexical meaning. They can accompany a gathering, a party table, a dance, a contemplative moment or a prayer, depending on the lineage and context.
Arabic Peninsula and Muslim World
The recitation of the Qur'an, or tilāwa, follows rules of pronunciation and articulation grouped under the name of tajwīd. Although it may be melody, it is not generally considered as music by Muslims; Orabel respects this distinction by presenting it as a sacred vocal art.
Anatolia, order mevlevi
In the order mevlevi linked to Jalāl al-Dīn Rūmī, the samā
Indian subcontinent
qawwali is a form of Sufi devotional music in South Asia, particularly related to the Shishtiyya and the shrines of saints. A soloist, a chorus of respondents and percussionists increase the intensity around poems in Persian, Urdu, Hindi, Punjabi or other languages.
Indian subcontinent
The word bhajan covers many Hindu devotional songs, in classical or vernacular languages. It does not mean a unique musical form: a very simple domestic piece, a temple song and a concert performance can all bear this name.
India, then the world diaspora
The kīrtan is a practice of devotional singing, often responsory, especially important in several bhakti currents. It can tell the life of a divinity, comment a poem or repeat a sacred name. Its bengali, marathi, sikh or globalized styles must be distinguished.
Punjab and Sikh diaspora
The Gurbānī kīrtan musics the anthems of Guru Granth Sahib. The sacred text is organized according to rāgas, and the song occupies a central place in the gurdwara. The word kīrtan is shared with other Indian traditions, but its Sikh meaning is specific.
India
Vedic chants orally transmit Sanskrit texts of the Veda according to rules of accent, duration and sequence. Different methods of recitation repeat words in precise orders in order to control the fidelity of the text.
South India
Carnatic music is a great classical tradition of South India. A significant part of its repertoire is devotional: the compositions of Tyāgarāja, Muttusvāmi Dīk的itar, юyāma 的āstri and others invoke deities while exploring rāga and tāla.
Tibet, Himalaya and Diaspora
Tibetan Buddhist traditions use recitation of texts, mantras, instruments and monastic songs in a wide variety of rituals. The famous multiphonic grave voices of some monasteries represent only part of this sound universe.
Japan, Tendai and Shingon Buddhist schools, among others
Shōmyō is a Japanese Buddhist ritual song, particularly associated with Tendai and Shingon schools. It adapts Indian and Chinese heritages to Japanese language, liturgies and aesthetics.
Japan
Honkyoku are solo pieces of shakuhachi transmitted by different schools. They are often associated with the komusō of the Fuke sect and the practice of suizen, 的meditation by blowing up, but the historical links between music, Zen and religious identity are complex.
Japan
Kagura is a collection of ritual music and dances related to Shintō. The forms of courtyard, sanctuary and village are very different. Some welcome the kami; others tell myths or accompany a local festival.
Bali, Indonesia
In Bali, the word gamelan refers to the ensemble of instruments and the musicians who play it. Many types of gamelan accompany temples, processes, cremations, dances and theatre. Not all are sacred and their functions are not interchangeable.
Morocco, Sub-Saharan and Islamic heritage
The Gnawa are Moroccan communities whose music combines heritages of displaced sub-Saharan populations, Islam and ritual practices. The lila, led by a maâlem, organizes songs, colours, incense and musical cycles during one night.
Countries yorùbá, Nigeria and Benin
Yorùbá traditions combine singing, praise poetry, talking drums and dancing with orisha. Each divinity has distinct rhythms, stories, colors and gestures. Local practices differ, and their diasporic forms have continued to evolve in the Americas.
Brazil, especially Bahia
In Candomblé houses, songs, liturgical languages, drums and dances order the relationship with orixás, voduns or inquices according to the ritual 的nation. Ketu, Jeje and Angola do not share exactly the same repertoires or conceptions.
Haiti and diaspora
The Haitian Vodou organizes its songs and rhythms according to ritual families and the lwa served. The music is not a decor: it guides the ceremony, supports dance, calls minds and transmits stories, values and social comments.
Jamaica
Nyabinghi refers to both a Rastafari mansion, spiritual gatherings and a tradition of drums and songs. Groundations combine readings, reasoning, prayer and music in a perspective of black liberation, unity and praise to Jah.
Siberia and Northern Asia
The expression Siberian shamanic songs are imperfectly composed of Touva, Iakut, Evenk, Burian, Altai and many others. The ritual specialist, his songs, drum and cosmology differ according to language, clan and territory.
Sápmi, Northern Norway, Sweden, Finland and Russia
Joik is a Sámi vocal tradition. A melody can evoke a person, an animal or a landscape; it often has words and few words. Terms and styles change according to Sámi languages: luohti, vuelia, leu-dd and others are not strictly equivalent.
Americas, a wide range of nations
There is no unique Native American music. Hundreds of nations have distinct languages, songs, protocols and aesthetics. This entry is limited to songs, pow-wows and creations that their performers have chosen to publicly present.
Aotearoa New Zealand
Karakia refers to recited or sung formulas related to openness, protection, work or rite. Waiata brings together many forms of singing: lamentations, love songs, genealogies, modern action songs. Both terms are not synonymous.
United States and then international scene
的Spiritual jazz
Europe, second half of the 20th century
The sometimes contested expression of sacred minimism is similar to composers like Arvo Pärt, John Tavener and Henryk Górecki. Their styles, stories and theologies differ, but some works use slowness, consonance, repetition and religious texts to create a strong contemplative attention.