Synopses & Reviews
"Mek Some Noise"
, Timothy Rommenand#8217;s ethnographic study of Trinidadian gospel music, engages the multiple musical styles circulating in the nationand#8217;s Full Gospel community and illustrates the carefully negotiated and contested spaces that they occupy in relationship to questions of identity. By exploring gospelypso, jamoo (and#147;Jehovahand#8217;s musicand#8221;), gospel dancehall, and North American gospel music, along with the discourses that surround performances in these styles, he illustrates the extent to which value, meaning, and appropriateness are continually circumscribed and reinterpreted in the process of coming to terms with what it looks and sounds like to be a Full Gospel believer in Trinidad. The local, regional, and transnational implications of these musical styles, moreover, are read in relationship to their impact on belief (and vice versa), revealing the particularly nuanced poetics of conviction that drive both apologists and detractors of these styles.
Rommen sets his investigation against a concisely drawn, richly historical narrative and introduces a theoretical approach which he calls the "ethics of style"and#151;a model that privileges the convictions embedded in this context and that emphasizes their role in shaping the terms upon which identity is continually being constructed in Trinidad. The result is an extended meditation on the convictions that lie behind the creation and reception of style in Full Gospel Trinidad.
Copub: Center for Black Music Research
and#8220;A remarkably rich and nuanced ethnographic work that breaks important new ground.and#8221;
“The authors treatment of Trinidadian musical styles is exemplary.” Journal Of American Folklore
and#8220;The authorand#8217;s treatment of Trinidadian musical styles is exemplary.and#8221;
Mek Some Noise, Timothy Rommen's highly personal ethnographic study of Caribbean gospel music, engages the musical world of contemporary Christians in Trinidad and Tobago at the nexus where music and religion meet. In Trinidad and Tobago the Full Gospel Pentecostal churches are negotiating a wide range of musical styles, many of which are more closely associated in the minds of outsiders with dance halls and the revels of carnival than with worship. Rommen focuses on four main styles: gospelypso, North American gospel, dancehall, and jamoo (Jehovah's music). He explores the powerful role that music plays in the lives of Full Gospel believers and the way in which music helps to convince and to actualize belief.
Rommen sets his investigation against a concisely drawn, richly historical narrative. He writes about music and its power to persuade, but he also gives deep consideration to the fact of people making music in order to say something. Using a wealth of materials previously ignored by scholars, Rommen arrives at a new theoretical approach which he calls the ethics of style, and which situates this group of believers both in their faith and in a Trinidadian context. The result is an extended meditation on the convictions, or ethical concerns, that lie behind the creation and reception of style in Full Gospel Trinidad.
""'Mek Some Noise'" combines rich ethnographic details with a conceptually innovative perspective on the embattled field that music represents for Full Gospel Christians in Trinidad. Compelling, incisive, and original, this book makes a superb contribution to an understanding of music, identity, and spirituality in and beyond the Caribbean."--Jocelyne Guilbault, author of "Zouk: World Music in the West Indies"
"'Mek Some Noise'
combines rich ethnographic details with a conceptually innovative perspective on the embattled field that music represents for Full Gospel Christians in Trinidad. Compelling, incisive, and original, this book makes a superb contribution to an understanding of music, identity, and spirituality in and beyond the Caribbean."and#151;Jocelyne Guilbault, author of Zouk: World Music in the West Indies
"Timothy Rommen's persuasive argument about the ethics of style in Trinidadian Full Gospel worship possesses not only regional but global implications for the study of music in community. Significantly expanding on subcultural theory, Rommen captures the power of belief and conviction in musical life. This book guides us on an exploration of the role that musical style plays in moral and ethical discourse, skillfully illustrating how our musical choices reveal our ethical judgments."and#151;Gage Averill, Dean of Music, University of Toronto
About the Author
Timothy Rommen is Assistant Professor of Ethnomusicology at the University of Pennsylvania.
Table of Contents
List of Illustrations
1. Music, Memory, and Identity in Full Gospel Trinidad
2. The Ethics of Style
3. Nationalism and the Soul: Gospelypso as Independence
4. Transnational Dreams, Global Desires: North America as Sound
5. Regionalisms: Performances beyond a Boundary
6. Jehovahand#8217;s Music: Jamminand#8217; at the Margins of Trinidadian Gospel Music
7. Reenvisioning Ethics, Revisiting Style