On Sat, 17 Sept 2022, 13:46 Frederick Noronha, <[email protected]>
wrote:

> [image: choral-voices.jpg]
>
> Ethnographic Imaginations of Sound and Sacrality
> Sebanti Chatterjee (Author)
> Ebook (Epub & Mobi)
> ₹8072.00
> https://www.bloomsbury.com/in/choral-voices-9781501379857/
>
> Description
>
> *Choral Voices: Ethnographic Imaginations of Sound and Sacrality* is
> about sacred and secular choirs in Goa and Shillong across churches,
> seminaries, schools, auditoriums, classrooms, reality TV shows, and
> festivals. Voice and género emerge as social objects annotated by
> tradición, nostalgia, and innovation. Piety literally and metaphorically
> shapes the Christian lifeworld, predominantly those belonging to the
> Presbyterian and Catholic denominations. Indigeneity structures the
> political and cultural motifs in the making of the Christian musical
> traditions. Located at the intersection of Sociology, Anthropology, and
> Ethnomusicology, the coral voices emplace 'affect' and the visual-aural
> dispatch. Entonces, sonic spectrum holds space for indigenous and global
> musicality.
> Table of Contents
> *ListofIllustrations*
> *Prologue: Warming Up*
> 1 Introduction: Choral beginnings: Inside the chapel and a home studio
> 1.1 A biography of community- delineating the Sacred and the Heritage
> 1.2 Establishing a musical cadence
> 1.3 Framing choral music within Christian landscapes
> 1.4 Aural Intentions: Summary of chapters
> 2 Making of the Indigenous
> 2.1 Interrogating the Indigenous
> 2.2 Emplacing the Indigenous
> 2.3 Understanding Indigeneity, Inculturality and Decoloniality
> 2.4 Music and Decoloniality
> 2.5 Exploring the relationship between Indigeneity and Sacrality
> 2.6 Indigenous Possibilities in curricula and performance: Field narratives
> 2.7 Towards Sonic Interculturality
> 3 From Loft to the Recording Studio: Shillong Diaries
> 3.1 What brings you to Shillong? Introduction
> 3.2 Cusp of Sacrality, new Technologies and Creative Processes
> 3.3 Choral Voices as ethnographic objects
> 3.4 Short Historical Snippets about Christianity and Musicality in Khasi
> and Lushai Hills
> 3.5 Discussing Genre, Intertextuality and Territorialisation
> 3.6 Shillong Chamber Choir
> 3.7 Repertoire- Medleys/Crossovers
> 3.8 Beyond performance
> 3.9 Aroha Choir
> 3.10 Conclusion
> 4 The Language of Music: Notes from a Goan Seminary
> 4.1 Inhabiting the Seminary
> 4.2 Outlining Goan Sacred Music
> 4.3 A brief history of music and language in Goa
> 4.4 Entering the field site
> 4.5 Rachol Seminary
> 4.6 Introducing the seminarians
> 4.7 Syncretic musical experimentations in Goan Sacred music
> 4.8 Goan Sacred music- Motets
> 4.9 Conclusion
> 5 Mapping Choral Voices: Role of People and Places
> 5.1 Introduction
> 5.2 Hierarchization of voices
> 5.3 Indigeneity and Christian Music Tradition
> 5.4 Music Performance
> 5.5 Conclusion
> 6 Tutti: Concluding Section
> 6.1 The Musical Clef Notating Certainty- Uncertainty
> 6.2 Positing the Vocal Phrasing
> *Acknowledgments*
> *Bibliography*
> *Glossary*
> *Appendix*
> *Documentary – Da Capo (in CD)*
> *Index*
> Via
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>  17/09/22,
> 06:12:49 pm
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