Monique M. Ingalls Singing the Congregation

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Anthrozoology, the study of human-animal interactions (HAIs), has experienced substantial growth during the past 20 years and it is now timely to synthesise what we know from empirical evidence about our relationships with both domesticated and wild animals. Two principal points of focus have become apparent in much of this research. One is the realisation that the strength of these attachments not only has emotional benefits for people, but confers health benefits as well, such that a whole area has opened up of using companion animals for therapeutic purposes. The other is the recognition that the interactions we have with animals have consequences for their welfare too, and thus impact on their quality of life. Consequently we now study HAIs in all scenarios in which animals come into contact with humans, whether as pets/companions, farm livestock, laboratory animals, animals in zoos, or in the wild. This topical area of study is of growing importance for animals in animal management, animal handling, animal welfare and applied ethology courses, and also for people within psychology, anthropology and human geography at both the undergraduate and postgraduate level. It will therefore be of interest to students, researchers, and animal managers across the whole spectrum of human-animal contact.Contemporary worship music shapes the way evangelical Christians understand worship itself. Author Monique M. Ingalls argues that participatory worship music performances have brought into being new religious social constellations, or "modes of congregating". Through exploration of five of these modes-concert, conference, church, public, and networked congregations-Singing the Congregation reinvigorates the analytic categories of "congregation" and "congregational music." Drawing from theoretical models in ethnomusicology and congregational studies, Singing the Congregation reconceives the congregation as a fluid, contingent social constellation that is actively performed into being through communal practice-in this case, the musically-structured participatory activity known as "worship." "Congregational music-making" is thereby recast as a practice capable of weaving together a religious community both inside and outside local institutional churches. Congregational music-making is not only a means of expressing local concerns and constituting the local religious community; it is also a powerful way to identify with far-flung individuals, institutions, and networks that comprise this global religious community. The interactions among the congregations reveal widespread conflicts over religious authority, carrying far-ranging implications for how evangelicals position themselves relative to other groups in North America and beyond.

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