Choral Voices: Ethnographic Imaginations of Sound and Sacrality

Table of Contents:
List of figures;
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;
Index.