Theomusicology has been defined as “a musicological method for theologizing about the sacred, the secular, and the profane, principally incorporating thought and method borrowed from anthropology, sociology, psychology, and philosophy” (Spencer 1991b, 3). As an interdisciplinary framework, it provides a productive lens for examining music as a site where theological meaning, cultural expression, and embodied experience intersect. Within this framework, Hip Hop can be understood not merely as artistic production but as a medium through which communities articulate suffering, resilience, and spiritual reflection.
Embodied trauma within Black and other minoritized communities often manifests through somatic and psychosomatic conditions such as chronic anxiety, panic attacks, depression, and suicidal ideation. Given its global reach and cultural influence, music offers a powerful arena for examining how trauma is expressed, negotiated, and potentially disrupted.
This panel explores the relationship between minor-keyed Hip Hop music and embodied trauma among Black and minoritized young adults (ages 18–28). Drawing on interdisciplinary methodologies, the papers examine how sonic aesthetics, lyrical narratives, and musical tonality function within theomusicological analysis to illuminate how Hip Hop can serve as a site for articulating trauma, cultivating resilience, and imagining pathways toward healing.