- The Oxford Handbook of Music and World Christianities
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- Coexistence of Causal and Cultural Expressions of Musical Values among the Sabaot of Kenya
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- 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
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- 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
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- 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 examines the Protestant parading tradition in Northern Ireland with particular focus on the dominance of the flute band scene within it. It provides an in-depth discussion into the central characteristics of each flute band type, namely, blood and thunder, melody and part-music, through an ethnographic analysis of five flute bands. The social, political and religious orientations of each band are examined, as well as their choices in instruments, uniforms and symbolism. An understanding of these orientations indicates how the musical choices and symbolic choices of these bands are linked to the ways in which they construct and articulate their notions of Ulster Protestantism in postconflict Northern Ireland.
Jacqueline Witherow is Policy Development Officer at the Arts Council of Northern Ireland.
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