Music, Ritual, and Diasporic Identity of the Armenian Apostolic Church

348 Pages·2004·4.87 MB·English

ABSTRACT

Title of dissertation: MUSIC, RITUAL, AND DIASPORIC IDENTITY: A
CASE STUDY OF THE ARMENIAN APOSTOLIC
CHURCH

Jonathan Ray McCollum, Doctor of Philosophy, 2004

Dissertation directed by: Professor Emeritus Józef Pacholczyk

School of Music, University of Maryland

This study examines the relationships between music, music-making, and
ritual performance in the Armenian Apostolic Church. By looking at music-making
as a ritual liturgical symbol of faith, I explain the meaning of liturgical music
practice and its function in teaching the fundamentals of faith. Drawing upon the
fields of ethnomusicology, theology, and ritual studies, I explore the theoretical
orientations and methodological strategies that assist in the interpretation of music
in ritual contexts. By examining various theories of symbol and ritual combined
with fieldwork, I interpret Armenian Apostolic liturgical music using a theoretical
methodology that investigates the operation of liturgical music within ritual contexts.
Because “faith” is not empirically observable, I focus on “the conception of faith” as
it is performed by participants in the Divine Liturgy.
In addition to looking at these aspects, I also extend my search past that of
the “official” Christian Armenian community by asking what purpose the Armenian
Apostolic Church serves in the community as a whole, even amongst non-Christians
or non-practicing Armenian Christians. There is a discourse that runs through
Armenian literature and politics that to be “Armenian” is to be “Christian.” Is this
the reality of the situation? Is Armenian Christianity perceived as faith, heritage, or
both, and to what extent does the Divine Liturgy play a role in realizing Armenian
identity? The purposes of this study are to interpret ritual in light of our physical,
social, political, moral, aesthetic, and religious existence, to analyze and interpret
liturgical music, to contribute to the development of a critical theory of music as a
ritual symbol, and to address issues of identity.
I conclude that if the symbolic activity of ritual performance evokes
participation that is empirically observable, as an outward performance and
transformation or “rite of intensification” of a deeper display of the conception of
faith, liturgical music-making becomes integral to the liturgical rite itself. Also, in
terms of Armenian identity, the Armenian Apostolic Church is essential to the
negotiation of cultural identity outside of their historic homeland of Armenia, even
amongst Armenians who do not actively perform the Divine Liturgy.
MUSIC, RITUAL, AND DIASPORIC IDENTITY:
A CASE STUDY OF THE ARMENIAN APOSTOLIC CHURCH

by

Jonathan Ray McCollum

Dissertation submitted to the Faculty of the Graduate School of the
University of Maryland, College Park in partial fulfillment
of the requirements for the degree of
Doctor of Philosophy
2004

Advisory Committee:

Professor Emeritus Józef Pacholczyk, chair
Professor Suheil Bushrui
Professor Robert Gibson
Associate Professor Marie McCarthy
Professor Robert Provine
© Copyright by

Jonathan Ray McCollum

2004
ACKNOWLEDGMENTS

This dissertation, on the surface, seems the exclusive result of one scholar.
However, this work would certainly not have taken its present form were it not for
the support of a number of individuals. Indeed, the discipline of ethnomusicology,
in particular, necessitates reliances between individuals. It is now my great pleasure
to acknowledge those persons who have contributed to my educational pursuits
while a doctoral student at the University of Maryland and especially to work on
this dissertation.
My sincerest gratitude goes to my advisor and friend, Professor Emeritus
Józef Pacholczyk, who helped to hone my appreciation for ethnomusicology and
enthusiastically supported me both as a scholar and as a person. His very pragmatic
approach and attention to detail has made me a better scholar, writer, and thinker.
Professor Robert Provine provided insights, encouragement, and helped me
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maintain sanity throughout my doctoral work. My deepest appreciation extends to
Professors Suheil Bushrui, Robert Gibson, and Marie McCarthy for agreeing to be a
part of my committee and for their support and guidance.
I would also like to thank Professor Carolina Robertson, who has opened my
eyes to the manifold nature of ethnomusicology, especially with the inclusion of
ritual paradigms. She has made me aware that not only am I studying people, but
myself as well. I would also like to acknowledge the continued support and
friendship of Dr. Andy Nercessian of the University of Durham. Dr. Margaret
Sarkissian of Smith College has given me invaluable guidance in ethnomusicology
in general as well as provided heartfelt wisdom in life. I owe a debt of gratitude to
Professors Dale Olsen of Florida State University, Tomie Hahn of the Department
of the Arts at Rensselaer, and David Locke and Jane Bernstein of Tufts University
who introduced me to the field of ethnomusicology.
I am deeply indebted to the members of the Armenian communities in
Boston, Massachusetts and the Washington, DC/Baltimore areas for opening their
doors to an outsider and helping me understand so much about Armenian culture. I
have been deeply enriched by the wisdom, faith, and worship of the Armenian
community. I would also like to thank the staff at the British Library in London, the
Library of Congress in Washington, DC, the Armenian Library and Museum of
America in Watertown, Massachusetts, the University of Maryland Libraries, the
Tufts University Libraries, the Harvard University Libraries, the Boston University
Library, and the MIT Libraries. I would like to extend my appreciation to the
Diocese of the Armenian Church of Armenia (Eastern), The University of Chicago
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Press, the Armenian International Magazine, and www.armsite.com for permission
to use certain images.
I acknowledge with gratitude my friends and graduate student colleagues for
their encouragement and helpful advise. I would like to especially thank my
wonderful wife, Kimberly, who continues to encourage me to pursue both my
academic and artistic works. She is an inspiration. Finally, I want to thank my
family who early on in my life, supported my endeavors in music and art and whose
affection I will always value.

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DEDICATION

To:

Józef Pacholczyk, my support

Mom and David, my inspiration

and

Kimberly, my love
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TABLE OF CONTENTS

LIST OF FIGURES x

PART ONE: THE PROBLEM AND THE RESEARCH METHODS 1

CHAPTER ONE
Introduction: Discourses and Ideologies 2

Introduction 2
Identity: Religion and Ritual/Musical Performance 4
Armenian Music Scholarship 10
Armenian Musicology in the Context of Soviet Ideology 13
Possible Trends in “Post” Soviet Armenian Musicology 16
Rationale for the Structure of the Dissertation 18

CHAPTER TWO
Paradigms and Theoretical Considerations 23

Principal Paradigms:
Structuralism, Hermeneutics, and Ethnography 32
Theoretical Considerations 26
Music and Ritual in Religious Worship 36
Faith: A Study in Paradox 42
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CHAPTER THREE
Methodology: Fieldwork and Musical/Ritual Analysis 44

Introduction 44
The Field: Context for Ethnography 46
Fieldwork 46
Personal Orientations: Emic and Etic Research 69
Methodological Strategies for Interpreting Musical/Ritual
Performance: Musical Ethnography
and Ritual Analysis 70

PART TWO: BACKGROUND INFORMATION 74

CHAPTER FOUR
Historical Context for the Study:
The Armenian Diaspora in the United States 75

Introduction 75
Armenian and the Diaspora 78
The Armenian Diaspora in the United States 81
The Christian Church 96
Identity—Armenianness Reconfigured 102

CHAPTER FIVE
The History and Theology of the Armenian Apostolic Church 107

Introduction 107
A Brief Synopsis of the
History of the Armenian Apostolic Church 108
Armenian Theology in the Context of Eastern Orthodoxy 123
Conclusion 127

PART THREE: ANALYSIS 129

CHAPTER SIX
Description of Ritual Contexts:
Space, Objects, Sounds and Language, and Identity 130

Introduction 130
Ritual Space 133
Ritual Objects 140
Ritual Sound and Language 148
Ritual Identity 153

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