Autotuned Belonging: Coptic Popular Song and the Politics of Neo Pentecostal Pedagogies.
Ramzy, Carolyn
Autotuned Belonging: Coptic Popular Song and the Politics of Neo Pentecostal Pedagogies. Carolyn Ramzy - Illinois-XXU : University of Illinois Press, 2016. - páginas 434-458: ilustraciones en blanco y negro. - Tres veces al año - vol. 60, no. 3 (2016) - Ethnomusicology. Journal of the Society for Ethnomusicology ; no. 3 . - Estados Unidos. Society for Ethnomusicology. .
Maher Fayez is arguably the most famous Christian televangelist in Egypt, appearing in a vibrant satellite and digital ministry online where he sings the popular genre of Coptic Christian songs, taratil. As his performances largely depend on the mediated and Auto-Tuned voice, I investigate how Fayez's use of an electronicized and cyber ministry merges both visual and auditory sensibilities to help his audiences attune to Christian and 'alternative moderni- ties. How does his use of global neo-Pentecostal pedagogies and popular music technologies contest Coptic Orthodox Church authority? More importantly, how do they negotiate various modes of Egyptian Christian-belonging follow- ing the January 25, 2011 Uprising?
GENEROS MUSICALES MUSICA POPULAR MUSICA CRISTIANA
Autotuned Belonging: Coptic Popular Song and the Politics of Neo Pentecostal Pedagogies. Carolyn Ramzy - Illinois-XXU : University of Illinois Press, 2016. - páginas 434-458: ilustraciones en blanco y negro. - Tres veces al año - vol. 60, no. 3 (2016) - Ethnomusicology. Journal of the Society for Ethnomusicology ; no. 3 . - Estados Unidos. Society for Ethnomusicology. .
Maher Fayez is arguably the most famous Christian televangelist in Egypt, appearing in a vibrant satellite and digital ministry online where he sings the popular genre of Coptic Christian songs, taratil. As his performances largely depend on the mediated and Auto-Tuned voice, I investigate how Fayez's use of an electronicized and cyber ministry merges both visual and auditory sensibilities to help his audiences attune to Christian and 'alternative moderni- ties. How does his use of global neo-Pentecostal pedagogies and popular music technologies contest Coptic Orthodox Church authority? More importantly, how do they negotiate various modes of Egyptian Christian-belonging follow- ing the January 25, 2011 Uprising?
GENEROS MUSICALES MUSICA POPULAR MUSICA CRISTIANA