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Introduction

Introduction lntrodudion In an essay published in a theological journal, ethnomusicologist Philip Bohlman raised a theomusicological question that derived, appropriately enough, from his attempt to delimit common inter­ ests between ethnomusicology and theology. The preeminent ques­ tion was not "Is All Music Religious? -the title of his brief article. It was, "Is there a common ethnomusicological language about mu­ sic and religion that forms into a more explicit discourse? And to what extent do music and religion manifest themselves as common elements-indeed, as shared vocabulary-in the discourse and en­ deavors of the entire discipline of ethnomusicology? In answer to Bohlman s question, ethnomusicologists generally only stumble onto the realization that music and religion can de­ velop a common vocabulary and explicit discourse, since they rarely an interest in theology or the history of religions as Bohlman have seems to have. This was demonstrated at the ethnomusicology con­ ference Bohlman held in the mid-198os at Cornell University on the theme "Popular Music in the Middle East, South Asia, and South­ east Asia. At the conclusion of the conference, ethnomusicologist Bruno Netti, who was to connect the disparate presentations into some cohesive meaning, made the statement: There is only one characteristic, in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

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Copyright
Copyright © 1992 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-6.1.1
Publisher site
See Article on Publisher Site

Abstract

lntrodudion In an essay published in a theological journal, ethnomusicologist Philip Bohlman raised a theomusicological question that derived, appropriately enough, from his attempt to delimit common inter­ ests between ethnomusicology and theology. The preeminent ques­ tion was not "Is All Music Religious? -the title of his brief article. It was, "Is there a common ethnomusicological language about mu­ sic and religion that forms into a more explicit discourse? And to what extent do music and religion manifest themselves as common elements-indeed, as shared vocabulary-in the discourse and en­ deavors of the entire discipline of ethnomusicology? In answer to Bohlman s question, ethnomusicologists generally only stumble onto the realization that music and religion can de­ velop a common vocabulary and explicit discourse, since they rarely an interest in theology or the history of religions as Bohlman have seems to have. This was demonstrated at the ethnomusicology con­ ference Bohlman held in the mid-198os at Cornell University on the theme "Popular Music in the Middle East, South Asia, and South­ east Asia. At the conclusion of the conference, ethnomusicologist Bruno Netti, who was to connect the disparate presentations into some cohesive meaning, made the statement: There is only one characteristic, in

Journal

Black Sacred MusicDuke University Press

Published: Mar 1, 1992

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