Papers by Ian Collinge
Fortress Press eBooks, Apr 25, 2023
Fortress Press eBooks, Apr 25, 2023
Polyphone Klangraüme, edition missiotop, Jahrbuch 2021, 2021
Ian Collinge brings an ethnodoxological perspective to the developing topic of "intercultural wor... more Ian Collinge brings an ethnodoxological perspective to the developing topic of "intercultural worship". He draws on experience as a missional ethnomusicologist in homogenous communities in Asia and Europe as well as twenty years as a multicultural worship musician and consultant. Recently, he has come to prefer the term "intercultural", rather than "multicultural" worship, considering that it better describes the others-focussed community dynamic required for healthy expressions of worship in multi-ethnic churches, and hence for deeper church unity and the advancement of the church's mission among unreached peoples and national cultures alike.
Doon Theological Journal, 2011
Presented initially as a paper in 2010 to the staff of a New Theological College in North India, ... more Presented initially as a paper in 2010 to the staff of a New Theological College in North India, the aim of this article was to reflect on the relationship of ethnodoxology and theology to help theological institutions considering ethnodoxology training as part of their curriculum. In Part 1, ethnodoxology is introduced. In Part 2, major meeting-points of theology and ethnodoxology are touched on.
CHIME no.6, 1993
This article is a summary (with the benefit of further fieldwork research) of Collinge's Masters ... more This article is a summary (with the benefit of further fieldwork research) of Collinge's Masters Dissertation, 'The "Sweet Sound" of the Tibetan Lute'. It makes the case that the dra-nyen (sgra-snyan) is a Himalayan-wide instrument and an emblem of Tibetan culture, based on features in its construction, its place in Tibetan history, religion, musical settings, and culture in the 1990's..
ASIAN MUSIC VOLUME XXV11-1 FALL/WINTER 1996/1997 (Journal of the Society for Asian Music)
This a... more ASIAN MUSIC VOLUME XXV11-1 FALL/WINTER 1996/1997 (Journal of the Society for Asian Music)
This article examines the way in which Tibetan musicologists and performing musicians are developing a vocabulary to describe the features and practice of Tibetan secular music. In an era of increasing globalisation, some scholars draw on historical sources, adapting it for the modern context, while performers sometimes use loan-words from other languages or coin terms as they see fit. Regional dialectical variations and the dispersal of musical authority make standardising a musical lexicon challenging. On the other hand, this article shows that an innovative and determined effort to bring precision to musical definitions is under way. The author uses both oral and written sources and focusses on a selection of important musical concepts such as 'music', 'melody', 'notation', 'instrumental passage', and 'octave'. This leads into a discussion about a possible nomenclature for the details of musical notation and a discussion about terminology to describe Tibetan musical modes. The author concludes that there is a trend driven both by intellectual rigour and a pressing practical need to institute a modern working technical lexicon for secular music. This requires further debate and discussion and in the end will be determined by those who use it. The article includes a glossary of sixty seven musical terms that appear in the article and many others that relate to this discussion.
Thesis Chapters by Ian Collinge
Ian Collinge, 1991
An examination of the principal cultural and musical associations of the sgra-snyan, examining th... more An examination of the principal cultural and musical associations of the sgra-snyan, examining the terminological and organological features, cultural and religious meanings and musical use of the instrument. Reformatted edition of the original 1991 dissertation text submitted for Masters of Music.
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Papers by Ian Collinge
This article examines the way in which Tibetan musicologists and performing musicians are developing a vocabulary to describe the features and practice of Tibetan secular music. In an era of increasing globalisation, some scholars draw on historical sources, adapting it for the modern context, while performers sometimes use loan-words from other languages or coin terms as they see fit. Regional dialectical variations and the dispersal of musical authority make standardising a musical lexicon challenging. On the other hand, this article shows that an innovative and determined effort to bring precision to musical definitions is under way. The author uses both oral and written sources and focusses on a selection of important musical concepts such as 'music', 'melody', 'notation', 'instrumental passage', and 'octave'. This leads into a discussion about a possible nomenclature for the details of musical notation and a discussion about terminology to describe Tibetan musical modes. The author concludes that there is a trend driven both by intellectual rigour and a pressing practical need to institute a modern working technical lexicon for secular music. This requires further debate and discussion and in the end will be determined by those who use it. The article includes a glossary of sixty seven musical terms that appear in the article and many others that relate to this discussion.
Thesis Chapters by Ian Collinge
This article examines the way in which Tibetan musicologists and performing musicians are developing a vocabulary to describe the features and practice of Tibetan secular music. In an era of increasing globalisation, some scholars draw on historical sources, adapting it for the modern context, while performers sometimes use loan-words from other languages or coin terms as they see fit. Regional dialectical variations and the dispersal of musical authority make standardising a musical lexicon challenging. On the other hand, this article shows that an innovative and determined effort to bring precision to musical definitions is under way. The author uses both oral and written sources and focusses on a selection of important musical concepts such as 'music', 'melody', 'notation', 'instrumental passage', and 'octave'. This leads into a discussion about a possible nomenclature for the details of musical notation and a discussion about terminology to describe Tibetan musical modes. The author concludes that there is a trend driven both by intellectual rigour and a pressing practical need to institute a modern working technical lexicon for secular music. This requires further debate and discussion and in the end will be determined by those who use it. The article includes a glossary of sixty seven musical terms that appear in the article and many others that relate to this discussion.