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The indigenization of Tamil Christia...

Sherinian, Zoe Carey.

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The indigenization of Tamil Christian music: Folk music as a liberative transmission system.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The indigenization of Tamil Christian music: Folk music as a liberative transmission system./
作者:	Sherinian, Zoe Carey.
面頁冊數:	867 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-03, Section: A, page: 0659.
Contained By:	Dissertation Abstracts International59-03A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9828052
ISBN:	9780591805017

The indigenization of Tamil Christian music: Folk music as a liberative transmission system.
Sherinian, Zoe Carey.

The indigenization of Tamil Christian music: Folk music as a liberative transmission system. - 867 p.

Source: Dissertation Abstracts International, Volume: 59-03, Section: A, page: 0659.

Thesis (Ph.D.)--Wesleyan University, 1998.

In this dissertation I seek to understand the complexity of the indigenization of Christian Music through examining the power dynamics of culture contact, local hierarchies of musical style value, and indigenous agency in the South Indian Tamil Protestant Christian context. I examine Christian indigenization of music considering the ideological debate over musical style in relation to Tamil Christian social identities, particularly as a determinant of music's value as a transmission system that can facilitate social and spiritual liberation for poor and Dalit (former "untouchable" or oppressed) Indians.

ISBN: 9780591805017Subjects--Topical Terms:

735016
Anthropology, Cultural.

The indigenization of Tamil Christian music: Folk music as a liberative transmission system.
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245 1 4 $a The indigenization of Tamil Christian music: Folk music as a liberative transmission system.
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500 $a Source: Dissertation Abstracts International, Volume: 59-03, Section: A, page: 0659.
500 $a Adviser: Mark Slobin.
502 $a Thesis (Ph.D.)--Wesleyan University, 1998.
520 $a In this dissertation I seek to understand the complexity of the indigenization of Christian Music through examining the power dynamics of culture contact, local hierarchies of musical style value, and indigenous agency in the South Indian Tamil Protestant Christian context. I examine Christian indigenization of music considering the ideological debate over musical style in relation to Tamil Christian social identities, particularly as a determinant of music's value as a transmission system that can facilitate social and spiritual liberation for poor and Dalit (former "untouchable" or oppressed) Indians.
520 $a The ethnographic focus of this dissertation is the Tamil Christian production and transmission of indigenized music from 1600 C.E. to 1994 and within the contemporary Protestant Church of South India (CSI). Part one demonstrates that the transmission of Christianity to India has historically occurred through the medium of indigenized music. This has resulted in the use of three indigenous styles (karnatak, folk and light) as well as Western hymns. I then describe contemporary patterns of style use from the perspectives of caste, class, theological, and denominational identity. Part two is an ethnographic description of the use of music styles among the three largest Protestant castes, as represented by individuals, and of the production and transmission of music at the Tamil Nadu Theological Seminary, where I conducted nine months of interactive, participatory fieldwork. Part three is a case study of James Theophilus Appavoo, a Dalit Christian composer and theologian whose life and work exemplifies the contemporary complexity of style use ideology. I describe Appavoo's family and personal music history, changes in his commitment from classical karnatak music to folk music, and the development of his Dalit consciousness. I then describe the three tenants of Appavoo's liberation theology and his analysis of social and musical values that informs them. Finally, I musically, linguistically and theologically analyze a performance of Appavoo's folk music liturgy to demonstrate his ideology of liberative transmission through this style which he believes allows for re-creation and re-contextualization with every transmission, thus defining Christian indigenized music.
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