- The Oxford Handbook of Music and World Christianities
- Music, Convert, and Subject in the North Sumatran Mission Field
- Mission Music as a Mode of Intercultural Transmission, Charisma, and Memory in Northern Australia
- Coexistence of Causal and Cultural Expressions of Musical Values among the Sabaot of Kenya
- Indigenous Innovations on Music and Christianity at Ratana Pa
- Music as Shared Space in Mennonite Development Work in Chad
- Are Western Christian <i>Bhajans</i> “Reverse” Mission Music?
- Drums in the Experience of Black Catholicism in Minas Gerais, Brazil
- Chant as the Articulation of Christian Aramean Spirithood
- The Politics of Pronunciation among German-Speaking Mennonites in Northern Mexico
- Hidden Histories of Religious Music in a South African Coloured Community
- Music and Religiosity among African American Fundamentalist Christians
- Songs of <i>Oru Olai</i> and the Praxis of Alternative Dalit Christian Modernities in India
- The Renaissance of the Corsican Confraternities and Their Musical Negotiations
- Local Music Making and the Liturgical Renovation in Minas Gerais
- The Survival Story of Syriac Chants among the St. Thomas Christians in South India
- Russian Church Music, Conundrums of Style, and the Politics of Preservation in the Emigre Diaspora of New York
- Parading Protestantisms and the Flute Bands of Postconflict Northern Ireland
- Everyday Musical Ethnicity and Roma (Gypsies) in Hungarian Pentecostalism
- Transnational Connections, Musical Meaning, and the 1990s “British Invasion” of North American Evangelical Worship Music
- Negotiations of Faith and Space in Memphis Music
- Tropes of Continuity and Disjuncture in the Globalization of Gospel Music
- Mainline Protestantism and Contemporary versus Traditional Worship Music
- Negotiating the Tensions of U.S. Worship Music in the Marketplace
- Contingency and the Symbolic Experience of Christian Extreme Metal
- Palestinian Christmas Songs for Peace and Justice in Sacred Place and Politicized Space
- The Diffusion of Gregorian Chant in Southern Italy and the Masses for St. Michael: To Barbara Haggh and to the Memory of Michel Huglo
- Performing Pannkotis Identity in Haiti
- Christianity and Korean Traditional Music
- Congregational Singing, Orthodox Christianity, and the Making of Ecumenicity
- Afterward: Sound, Soteriology, Return, and Revival in the Global History of Christian Musics
Abstract and Keywords
This chapter explores the long process by which musical meanings are made in the choral repertoire of a Russian diasporic church, the ROCOR Russian Orthodox church, in its mid-Atlantic U.S. diaspora. Its point of departure is not meanings held in common by these church members, but instead the disjunctive meanings assigned to musical practice (and the consequent differences in preferred musical practice) by multiple generations of Russian immigrants. Common meanings emerge from this process through the reconstruction of a Russian diasporic identity that both draws on the symbolic resources of musical institutions characterizing different factions of Russian church musicians and on the positionality of being “Russian abroad” that unifies members by a common idea of preserving prerevolutionary Russian culture.
Natalie Zelensky is Assistant Professor of Music at Colby College. Graduating with distinction from Northwestern University, she specializes in music and diasporas, with a focus on the political exiles who left Russia after the Bolshevik Revolution and settled in the United States. She has published articles and presented conference papers on Russian popular and sacred music cultures in New York, Russian-American summer camps, underground sacred music in the Soviet Union, and the Classic Blues. Currently, she is working on a project that explores Russian popular music as it emerged on America’s stages and radio programs during the Cold War era.
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