Mek Some Noise

Rommen, Timothy

doi:10.1525/9780520940543

Cited by 40 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…To explain the widespread appeal of North American gospel music among Protestants in Trinidad, Rommen describes the "negotiation of proximity" as "an exercise in deflection and disfiguration whereby the near is made far and the far becomes immanent and useful." 80 Styles that are local have problematic associations that lead to division within and among churches, who do not agree on local styles' acceptability or appropriateness for worship; however, styles and songs coming from a geographical and cultural distance are embraced because they lack these problematic associations. Thus, the North American origin (far) of the predominantly gospel hymnody that comprises the repertoire of Cantor Cristão made it automatically "superior" to, or "holier" than, any indigenous songs produced locally (near).…”

Section: "This Is My Story This Is My Song"mentioning

confidence: 99%

Singing the “Wondrous Story” in Portuguese: The First Official Brazilian Baptist Hymnal, Cantor Cristão

Monteiro

2021

Religions

View full text Add to dashboard Cite

This paper discusses the history of Cantor Cristão, the first official Brazilian Baptist hymnal, published in 1891, revealing important aspects of the development of Protestant hymnody in Brazil. It also exposes a web of long-distance connections, multiple linguistic and cultural elements, and distinct perspectives of those who chose to do missionary work and those who chose to welcome them. More specifically, I describe and reflect on the contributions of Solomon L. Ginsburg, an Orthodox Jew from Poland, converted to Christianity in England, and turned Evangelical missionary, who played a crucial role in the history of Cantor Cristão as publisher, author, and translator of hymns. In my analysis, I adopt a historical ethnomusicological perspective and utilize the concept of musical localization, as well as the complementary notions of negotiation of proximity and ethics of style as interpretative lenses. I am drawn to a more nuanced view of the legacy of the mission enterprise, one that is not blind to issues of power, ethnocentrism, and wealth, but makes room for a robust examination of all sorts of capital transfers and investments (economic, cultural, and social), and the real phenomena of musical localization and individual agency.

show abstract

Section: "This Is My Story This Is My Song"mentioning

confidence: 99%