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What makes sounds “religious”? How are communities shaped by the things they hear, play, or listen to? This book foregrounds connections between sounds, bodies, and media in the private and public life of communities beyond the Global North, analyzing diverse configurations of the category of sound and various sonic ontologies to usher in a more inclusive global anthro-history of religious sounds. This edited volume implements a “sonic turn” in the study of religion by engaging with a diversity of auditory, musical, and embodied practices. Dislodging the Global North as the main point of reference for studies on religious sound, this volume proposes an acoustemology of the post-secular with an emphasis on Asia as method. Unsettling and expanding existing discussions on senses, media, and power, editors Carola E. Lorea and Rosalind I. J. Hackett present religious sounds as co-creating subjectivities and collectivities that coalesce around audible aesthetic formations. This volume demonstrates that religious sounds are not only produced by certain religious traditions but also produce communities, shaping the self and sensitivity of those who participate.

MUSIC / Ethnomusicology. --- Religion, Sound, Music, Acoustemology, Embodiment.

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In basements, dingy backrooms, warehouses, and other neglected places around the world music is being made that doesn't fit neatly into popular or classical categories and genres, whose often extreme sounds and tiny concerts hover on the fringes of these commercial and cultural mainstreams. The term "underground music" as it's being used here connects various forms of music-making that exist outside or on the fringes of mainstream institutions and culture, such as noise, free improvisation, and extreme metal. This is music that makes little money, that's noisy and exploratory in sound and that's largely independent from both the market and from traditional high art institutions. In this book, by outlining the historical background but focusing on the digital age, the underground and its fringes can be seen as based in radical anti-capitalist politics or radical aesthetics while also being tied to the political contexts and structures of late capitalism.

Music / Ethnomusicology --- Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries)

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To produce the song sequences that are central to Indian popular cinema, singers' voices are first recorded in the studio and then played back on the set to be lip-synced and danced to by actors and actresses as the visuals are filmed. Since the 1950s, playback singers have become revered celebrities in their own right. Brought to Life by the Voice explores the distinctive aesthetics and affective power generated by this division of labor between onscreen body and offscreen voice in South Indian Tamil cinema. In Amanda Weidman's historical and ethnographic account, playback is not just a cinematic technique, but a powerful and ubiquitous element of aural public culture that has shaped the complex dynamics of postcolonial gendered subjectivity, politicized ethnolinguistic identity, and neoliberal transformation in South India.

Social Science / Anthropology / Cultural & Social --- Music / Ethnomusicology --- History / Asia / India & South Asia --- Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries)

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Transforming Vòdún examines how musicians from the West African Republic of Benin transform Benin's cultural traditions, especially the ancestral spiritual practice of vòdún and its musical repertoires, as part of the process of healing postcolonial trauma through music and ritual. Based on fieldwork in Benin, France, and New York City, Sarah Politz uses historical ethnography, music analysis, and participant observation to examine three case studies of brass band and jazz musicians from Benin. The multi-sited nature of this study highlights the importance of mobility, and diasporic connections in musicians' professional lives, while grounding these connections in the particularities of the African continent, its histories, its people, and its present.

Vodou music --- Jazz --- Brass band music --- Music --- Vodou --- Postcolonialism and music --- MUSIC / Ethnomusicology --- RELIGION / General --- Social aspects --- Music and postcolonialism --- Vaudou --- Vodun --- Voodoo (Religion) --- Voodooism --- Voodou --- Vooduism --- Voudon --- Voudooism --- Voudouism --- Voudoun --- Vudu --- Cults --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Brass choir music --- Band music --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Third stream (Music) --- Washboard band music --- Music, Vodou --- Voodoo music --- Sacred music