This three-volume anthology introduces the Ethiopian Christian musical tradition to performers, music scholars, and liturgists, while addressing general problems of notation and oral tradition. Ethiopian Christian chant has been passed down both in an indigenous notational system and through oral transmission. This edition presents a selection of liturgical portions from the annual cycle in facsimiles of notated sources and in transcriptions from modern performances. Supplementing the edition is a complete dictionary of notational signs, with equivalents in modern notation, and a set of charts tracing the notational history of each liturgical portion through a sample of Ethiopian manuscripts.

This three-volume anthology introduces the Ethiopian Christian musical tradition to performers, music scholars, and liturgists, while addressing general problems of notation and oral tradition. Ethiopian Christian chant has been passed down both in an indigenous notational system and through oral transmission. This edition presents a selection of liturgical portions from the annual cycle in facsimiles of notated sources and in transcriptions from modern performances. Supplementing the edition is a complete dictionary of notational signs, with equivalents in modern notation, and a set of charts tracing the notational history of each liturgical portion through a sample of Ethiopian manuscripts.

Christine Chaillot’s new book, The Traditional Teaching of the Ethiopian Orthodox Täwahedo Church: Faith and Spirituality, presents a topic that is little – if at all – known outside Ethiopia, even in Christian circles. Moreover, it is a much neglected field in the wider study of African education. It is a teaching based on ancient texts and books, taught orally to the students who will become the future clergy and who will then share their knowledge with the faithful in Church life. The studies of the different disciplines are pursued at different schools and at different levels, in liturgy, theology with commentaries of books (Old and New Testaments, books of the Church fathers and monks) as well as composition of poems (qenes) and iconography. All this teaching presented in the present volume is deeply related to the faith and spirituality of the Ethiopian Orthodox Church. This teaching is a unique intangible cultural heritage. One wonders, however, what its future will be in the context of the modern educational methods and social attitudes that have evolved in Ethiopia over the last half-century.

Music has long played a prominent role in cultural diplomacy, but until now no resource has comparatively examined policies that shape how non-western countries use music for international relations. Ethnomusicology and Cultural Diplomacy, edited by scholars David G. Hebert and Jonathan McCollum, demonstrates music's role in international relations worldwide. Specifically, this book offers "insider" views from expert contributors writing about music as a part of cultural diplomacy initiatives in Afghanistan, Uzbekistan, Iran, Syria, Japan, China, India, Vietnam, Ethiopia, South Africa, and Nigeria. Unique features include the book’s emphasis on diverse legal frameworks, decolonial perspectives, and cultural policies that serve as a basis for how nations outside “the west” use music in their relationships with Europe and North America.

Includes contributions on European knowledge of Arabic texts referring to music and the motets of Philippe de Vitry and the fourteenth-century renaissance

What are the new directions in ethnomusicological fieldwork? What do we see when we acknowledge the shadows we cast in the field? Will fieldwork continue as an integral part of ethnomusicological theory and method? Glancing forward and backward, the authors in this collection explore a range of issues that can help ethnomusicologists and those who study human experience and creativity to conceptualize the nature of fieldwork. This is the first book by ethnomusicologists to consider fieldwork as an issue-laden practice, rather than as a methodology requiring a prescriptive manual. The contributors challenge the very notion of fieldwork: its goals, the nature of knowledge gained, and the place of fieldwork in historical studies. Until now the focus in ethnomusicological writing and teaching centered around analyses and ethnographic representations of musical cultures. This book signals a new fieldwork, shifting the balance away from the data-collecting model toward an approach that is reflexive, humanistic, and experiential. It makes provocative reading for all fieldworkers, those in ethnomusicology as well as anthropology, sociology, folklore, area studies, linguistics, and other ethnographic disciplines.a"

In Introduction to Eastern Christian Liturgies, renowned liturgical scholars Stefanos Alexopoulos and Maxwell E. Johnson fulfill the need for a new, comprehensive, and straightforward survey of the liturgical life of the Eastern Christian Churches within the seven distinct liturgical Eastern rites still in existence today: Armenian, Byzantine, Coptic, Ethiopic, East Syrian, West Syrian, and Maronite. This topical overview covers baptism, chrismation, Eucharist, reconciliation, anointing, marriage, holy orders, burial, Liturgy of the Hours, the liturgical year, liturgical ethos and spirituality, and offers a brief yet comprehensive bibliography for further study. This book will be of special interest to masters-level students in liturgy and theology, pastoral ministers seeking an introduction to the liturgies of the Christian East, and all who seek to increase their knowledge of the liturgical riches of the Christian East.

"In Sentinel Musicians of the Ethiopian American Diaspora, Kay Kaufman Shelemay shares more than forty years of research among Ethiopian musicians in the midst of a widespread and evolving diaspora. Beginning on the eve of the Ethiopian revolution in 1974 all the way up to the present day, Shelemay follows musicians as some leave Ethiopia for the US, setting up essential networks of support in cities such as New York, Boston, and Washington, DC. Throughout this profound transition, Shelemay shows how Ethiopian musicians serve a critical function in social and political life by both safeguarding community identity and challenging authority within Ethiopian society. She coins the term "sentinel musicians" to express musicians' double capacity to guard culture and guide it through periods of change, transforming the world around them under political pressures and during times of extreme social stress. While musicians held this role in Ethiopian culture long before the revolution began, it has taken on new meanings and contours in the Ethiopian diaspora. Some sentinel musicians have quite literally led the way as they migrated to new locales, establishing transnational networks, founding new institutions, and undertaking numerous initiatives in community building. Ultimately, Shelemay shows that musicians are uniquely positioned to serve this sentinel role as guardians and challengers of cultural heritage"--

Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology. The book is divided into two parts; Part One is organised by resource type in catagories of greatest concern to students and scholars. This includes handbooks and guides; encyclopedias and dictionaries; indexes and bibliographies; journals; media sources; and archives. It also offers annotated entries on the basic literature of ethnomusicological history and research. Part Two provides a list of current publications in the field that are widely used by ethnomusicologists. Multiply indexed, this book serves as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the past decades.

In the rural plateaux of northern Ethiopia, one can still find scattered ruins of monumental buildings that are evidently alien to the country's ancient architectural tradition. This little-known and rarely studied architectural heritage is a silent witness to a fascinating if equivocal cultural encounter that took place in the 16th-17th centuries between Catholic Europeans and Orthodox Ethiopians. The Indigenous and the Foreign in Christian Ethiopian Art presents a selection of papers derived from the 5th Conference on the History of Ethiopian Art, which for the first time systematically approached this heritage. The book explores the enduring impact of this encounter on the artistic, religious and political life of Ethiopia, an impact that has not been readily acknowledged, not least because the public conversion of the early 17th-century Emperor Susïnyus to Catholicism resulted in a bloody civil war shrouded in religious intolerance. Bringing together work by key researchers in the field, these studies open up a particularly rich period in the history of Ethiopia and cast new light on the complexities of cultural and religious (mis)encounters between Africa and Europe.