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Zusatztext Sebanti Chatterjee’s work is a significant contribution to the emerging field of voice studies in South Asia. Backed by a rich ethnography, it parses choral voices in multiple sites to revisit questions of repertoire, indigeneity and faith practice and in the process indexes a complex set of social relations and meaning making. Informationen zum Autor Sebanti Chaterjee is Assistant Professor of Liberal Arts at SRM University-AP, India. She is a recipient of India Foundation of Arts Research Grant, the Ryoichi Sasakawa Young Leaders Fellowship Fund (SRA FY 2016), the Indian Council of Social Science Research fellowship, and former editorial member of Serenade Magazine. Klappentext 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 genre emerge as social objects annotated by tradition, 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 choral voices emplace 'affect' and the visual-aural dispatch. Thus, sonic spectrum holds space for indigenous and global musicality.This ethnographic work will be useful for scholars researching music and sound studies, religious studies, cultural anthropology, and sociology of India. Vorwort The first account of the public life of choral music shaped by imperialistic, cosmopolitan and indigenous characteristics in the regions of Goa in Western India and Shillong in the North-Eastern part of India. Zusammenfassung 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 genre emerge as social objects annotated by tradition, 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 choral voices emplace ‘affect’ and the visual-aural dispatch. Thus, sonic spectrum holds space for indigenous and global musicality.This ethnographic work will be useful for scholars researching music and sound studies, religious studies, cultural anthropology, and sociology of India. Inhaltsverzeichnis ListofIllustrations Prologue: Warming Up 1 Introduction: Choral beginnings: Inside the chapel and a home studio1.1 A biography of community- delineating the Sacred and the Heritage1.2 Establishing a musical cadence1.3 Framing choral music within Christian landscapes1.4 Aural Intentions: Summary of chapters2 Making of the Indigenous2.1 Interrogating the Indigenous2.2 Emplacing the Indigenous2.3 Understanding Indigeneity, Inculturality and Decoloniality2.4 Music and Decoloniality2.5 Exploring the relationship between Indigeneity and Sacrality2.6 Indigenous Possibilities in curricula and performance: Field narratives2.7 Towards Sonic Interculturality 3 From Loft to the Recording Studio: Shillong Diaries 3.1 What brings you to Shillong? Introduction3.2 Cusp of Sacrality, new Technologies and Creative Processes3.3 Choral Voices as ethnographic objects3.4 Short Historical Snippets about Christianity and Musicality in Khasi and Lushai Hills3.5 Discussing Genre, Intertextuality and Territorialisation3.6 Shillo...
