1,721,016 research outputs found
Protestant-Lutheran Choir Singing in Northern Germany: Dimensions of Presentational Musicking in the Local Community
No full textPerforming Pannkotis Identity in Haiti
No full textThis chapter focuses on transnational networks of Pentecostal practice. It explores the use of “Pannkotis” to identify musical practice among a variety of Haitian churches, including some tied historically to Protestant and Pentecostal organizations in the United States. It also discusses the author’s roles as a Western ethnomusicologist and a Pentecostal believer, reflecting on the power shifts in transnational engagement that shared faith can engender: the author was often not only a learner about Haitian Pentecostals themselves, but also a religious learner with them; at other times, by virtue of the “portable” religious capital of the author’s status as a Pentecostal minister, he was placed as a musical and religious teacher. The chapter points provocatively to the discontinuities the author experienced as an ethnomusicologist because of the understandings and beliefs he shared as a coreligionist with Haitian Pentecostals
Bringing Down the Spirit
No full textThis chapter discusses the relation between religious musicking and locality by looking at the ways in which music is made and perceived among members of a Nigerian Pentecostal parish in Greece. Central to Nigerian Pentecostal worship, music making is seen as a powerful means of spiritual engagement. Appointed music ministers carry special responsibility for directing the musical parts of services and conveying musico-spiritual skills to the congregation. However, the ethos of musicking in these services is deeply participatory, inviting the entirety of congregants to take an active part in musically articulated worship, praise, and thanksgiving. The author shows how participatory musicking in religious services can bring about a shared musico-spiritual experience. This shared experience creates a transcendent place, a locality not defined by mapped territories but rather by worshippers connecting with one another while reaching the divine
The Musical Human: Rethinking John Blacking's Ethnomusicology in the Twenty-First Century
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Playing away: liminality, flow and communitas in an Ulster flute band's visit to a Scottish orange parade
No full textThis paper explores the interaction of the embodied practices of musicking and discourse in bringing forth identity and creating community in contexts of marching, playing, singing and dancing during the visit of Sir George White Memorial Flute Band from Broughshane, County Antrim, to an Orange lodge in the Ayrshire mining village of New Cumnock, on the occasion of the annual celebration of the Battle of the Boyne. The paper shows that communal embodied experiences of musicking can both define and transcend boundaries whilst bringing forth communal identities, and also highlights the strategic uses of discourse to account for embodied ways of being in the world, and to define and redefine the nature of the community being produced.The paper goes on to explore the long term political effects of transitory but powerful emotional experiences in bonding band members to each other and to the broader social world of working-class loyalism within which these experiences are brought forth.<br/
The Renaissance of the Corsican Confraternities and their Musical Negotiations
Get PDFThis chapter explores the revitalisation of the Corsican confraternities (Roman Catholic lay brotherhoods) in the late twentieth and early twenty-first centuries. I focus in particular on the polyphonic song repertories that the brotherhoods have preserved through the centuries and that remain central to their identity today. I begin with a brief history of the confraternities in Corsica, with particular reference to changes in their status in relation to the church authorities, their musical practices, and their broader social and political function. I then examine the reasons behind their recent revival and, with the aid of a selection of short case studies, describe the processes involved in reintroducing the confraternities into the life of both church and community and reacquiring semi-forgotten musical repertories. The confraternities have always preserved a degree of autonomy vis-à-vis the ecclesiastical authorities and in the 1990s and early 2000s this was exercised most keenly in contests over musical style. I examine the dynamics of the various oppositions—aesthetic, ideological, linguistic, and gender-related—that the confraternities have had to engage with as they have sought to redefine their position in the soundscape of the contemporary church
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