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.

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.

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.

Liturgy migrates. That is, liturgical practices, forms, and materials have migrated and continue to migrate across geographic, ethnic, ecclesial, and chronological boundaries. Liturgy in Migration offers the contributions of scholars who took part in the Yale Institute of Sacred Music's 2011 international liturgy conference on this topic. Presenters explored the nature of liturgical migrations and flows, their patterns, directions, and characteristics. Such migrations are always wrapped in their social and cultural contexts. With this in mind, these essays recalibrate, for the twenty-first century, older work on liturgical inculturation. They allow readers to better understand contemporary liturgical flows in the light of important and fascinating migrations of the past.

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.

The XVth International Conference of Ethiopian Studies took place in Hamburg in July 2003. More than 400 scientists from over 25 countries participated. 130 contributions from the program were selected for this volume. They are mostly written in English and deal on the regions of Ethiopia and Eritrea and cover the span from the 4th Century to the present. The volume is divided into the following chapters: Anthropology (20 Articles), History (25), Arts (10), Literature and Philology (10), Religion (5), Languages and Linguistics (25), Law and Politics (10), Environmental, Economic and Educational Issues (10).

"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 Contemporary Reader, Volume II provides an overview of developments in the study of ethnomusicology in the twenty-first century, offering an introduction to contemporary issues relevant to the field. Nineteen essays, written by an international array of scholars, highlight the relationship between current issues in the discipline and ethnomusicologists’ engagement with issues such as advocacy, poverty and social participation, maintaining intangible cultural heritages, and ecological concerns. It provides a forum for rethinking the discipline’s identity in terms of major themes and issues to which ethnomusicologists have turned their attention since Volume I published in 2005. The collection of essays is organized into six sections: Property and Rights Applied Practice Knowledge and Agency Community and Social Space Embodiment and Cognition Curating Sound Volume II serves as a basic introduction to the best writing in the field for students, professors, and music professionals, perfect for both introductory and upper level courses in world music. Together with the first volume, Ethnomusicology: A Contemporary Reader, Volume II provides a comprehensive survey of current research directions.