This article discusses musicking in the Church of Scientology, and how it can be used to understand the organisation and its relationship to society. The article begins by discussing the essential place of listening in Scientological practice, noting that it is one of several ‘technologies’ that institutionalise the charisma of its founder, L. Ron Hubbard. It next demonstrates how Hubbard's hagiography influences how the church produces music today. This leads to a consideration of the ‘whole track sound’ of Scientology and uses the album Hymn of Asia (2000) to discuss how Scientological concepts are embedded sonically and lyrically into the church's recorded music outputs. The final section discusses the importance of communication in Scientology's musical thought, using interviews drawn from my fieldwork in Los Angeles to highlight the benefits and limits of music as a medium of (religious) communication.

本文讨论了山达基教会的音乐王，以及如何利用它来理解该组织及其与社会的关系。文章首先讨论了倾听在山达基教实践中的重要地位，指出它是将其创始人 L. Ron Hubbard 的魅力制度化的几种“技术”之一。接下来展示了哈伯德的圣徒传记如何影响当今教会制作音乐的方式。这导致了对山达基教“全轨声音”的考虑，并使用专辑《亚洲赞美诗》（2000）来讨论山达基教概念如何在声音和抒情方面嵌入到教堂录制的音乐输出中。最后一部分讨论了山达基音乐思想中沟通的重要性，使用我在洛杉矶实地考察中的采访来强调音乐作为（宗教）沟通媒介的好处和局限性。