1. The suggestion that local ethnography can speak to broader issues elsewhere is succinctly addressed by Jean and John Comaroff, âEthnography on an Awkward Scale: Postcolonial Anthropology and the Violence of Abstraction,â Ethnography 4, no. 2 (2003): 147â79, https://doi.org/10.1177/14661381030042001, who set forth a four-part methodological operation for âmapping extensions of the phenomenal landscapeâ [italics in the source]; they propose that such work âdemands an ethnography that, once orientated to particular sites and grounded issues, is pursued on multiple dimensions and scalesâ (169). The light that this study sheds on musiciansâ roles cross-culturally is explored in the afterword.
2. Thomas P. Ofcansky, âImperial Bodyguard,â in Encyclopaedia Aethiopica, ed. Siegbert Uhlig (Wiesbaden, Ger.: Harrassowitz, 2007), 3:127â28. Henceforth, references to Encyclopaedia Aethiopica will be abbreviated to EAe in the notes.
3. Ofcansky, âImperial Bodyguard,â EAe, 3:127â28.
4. Ofcansky, âImperial Bodyguard,â EAe, 3:127â28.
5. Manuel DeLanda, Assemblage Theory (Edinburgh: Edinburgh University Press, 2016), 10â11.
6. Jelis (often called griots outside Africa) âare musicians, singers, public speakers, oral historians, praisers, go-betweens, advisers, chroniclers, and shapers of the past and the presentâ (Eric Charry, Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa [Chicago: University of Chicago Press, 2000], 91).
7. Simon D. Messing, âThe Highland-Plateau Amhara of Ethiopiaâ (PhD diss., University of Pennsylvania, 1957), 487. Messing does not offer any further details about the âsecret musical note like a code,â but it could well have drawn on the short melodic segments from the Ethiopian Orthodox Christian chant repertory that are the basis of the notational system mÉlÉkkÉt (melekket, signs) associated with the text and melody of a specific liturgical chant. Melekket has an additional meaning of an identifying mark or a means of identification (Kane, Dictionary, 158).
8. For a discussion of African instruments that perform as speech surrogates, see Joseph S. Kaminski, âSurrogate Speech of the Asante Ivory Trumpeters of Ghana,â Yearbook for Traditional Music 40 (2008): 117â35, https://www.proquest.com/docview/235107827/B6F298C9C99C4778PQ/1; and Adwoa Arhine, âSpeech Surrogates of Africa: A Study of the Fante Mmensuon,â Legon Journal of the Humanities 20 (2009): 105â22, https://www.ajol.info/index.php/ljh/article/view/121552. These articles discuss closely related traditions of Ghanaian Asante and Fante people in which ivory trumpets serve as speech surrogates. Kaminski details a case study of Asante ivory trumpets and Arhine discusses the Fante mmensuon, an ensemble in which the lead horn, sese, is used in the Fante court âas a talking instrument for recounting histories, singing appellations, uttering proverbs, and conveying messages, announcements and signals depending on the contextâ (Arhine, âSpeech Surrogates,â 116). Both articles discuss in passing other Ghanaian instruments such as the Asante atumpan drum that are speech surrogates as well as comparative examples from elsewhere on the African continent. An example that serves as a speech surrogate from outside Africa is the textless songs that convey specific semantic meaning among an indigenous people of northern Veracruz, Mexico, in Charles L. BoilĂ©s, âTepehua Thought-Song: A Case of Semantic Signaling,â Ethnomusicology 11, no. 3 (1967): 267â92, https://doi.org/10.2307/850266.
9. Kane, Dictionary, 1016. For discussion of the negaritâs symbolic association with royal power from early dates, see AnaĂŻs Wion, Anne Damon-Guillot, and StĂ©phanie Weisser, âSound and Power in the Christian Realm of Ethiopia (SeventeenthâEighteenth Centuries),â Aethiopica 19 (2016): 62â67, https://doi.org/10.15460/aethiopica.19.1.904.
10. The NĂ€garit Gazeta first appeared in March 1942 as a monthly publication with the provision that no new law would be valid until published in the document, today an online platform (Theodor Vestal, âNĂ€garit Gazeáča,â EAe, 3:1106).
11. âWax and goldâ (sĂ€mÉnna wĂ€rq) uses the lost wax process of goldsmithing as a metaphor for hidden meanings; a clay mold is created around a wax form, which melts as it is replaced with molten gold (Donald N. Levine, Wax and Gold: Tradition and Innovation in Ethiopian Culture [Chicago: University of Chicago Press, 1965], 5).
12. Jenny Hammond, Sweeter than Honey: Ethiopian Women and Revolution; Testimonies of Tigrayan Women (Trenton, NJ: Red Sea, 1990), 141. The guitarist quoted here is identified only by her first name, Atsede; she learned to play the guitar as part of a revolutionary cultural troupe to be discussed in chapter 4.
13. Minale Dagnew Bezu, interview by author, January 7, 2008, Washington, DC.
14. The Oxford English Dictionary (OED) acknowledges this uncertain etymology, noting that the French words sentinelle and Italian sentinella are gendered feminine (âSentinel, n.,â OED Online, accessed January 21, 2020). However, other dictionaries, including the Merriam-Webster, suggest that Old Italian sentinella comes from sentire, âto perceiveâ in Latin, accessed January 21, 2020, https://www.merriam-webster.com/dictionary/sentinel.
15. Ewa A. Miendlarzewska and Wiebke J. Trost, âHow Musical Training Affects Cognitive Development: Rhythm, Reward and Other Modulating Variables,â Frontiers in Neuroscience 7 (2014): 1â18, https://doi.org/10.3389/fnins.2013.00279; and Aniruddh D. Patel, âWhy Would Musical Training Benefit the Neural Encoding of Speech? The OPERA Hypothesis,â Frontiers in Psychology 2 (2011): 1â14, https://doi.org/10.3389/fpsyg.2011.00142.
16. Kane, Dictionary, 18; Wolf Leslau, English-Amharic Context Dictionary (Wiesbaden, Ger.: Harrassowitz, 1973), 1139. I thank Dr. Getatchew Haile for confirming the relationship between these two words. Both hÉwas and sÉmmet connote sensation.
17. Kane, Dictionary, 18, 462, and 472.
18. Thomas Campbell, The Complete Poetical Works of Thomas Campbell: With a Memoir of His Life, Lovellâs Library, vol. 10, no. 526 (Boston: Phillips, Sampson, 1855), 161. The first reference to the sentinel stars was by Richard Lovelace in âTo Lucastaâ in Lucasta: Postume Poems (1659): âLike to the Sentânel ...