Abstract
<jats:title>Abstract</jats:title> <jats:p>This chapter shows how music scholars embrace theology, other-than-human agency, and their own religious engagements in an emergent ethnomusicology that entangles music and religion. This chapter highlights theological terms and concepts that have long been used in ethnomusicology and are now informing scholars’ theistic methodologies. The author argues that a decolonial, nonsecular ethnomusicology requires more than incorporating other-than-human agency into current disciplinary norms. Rather, it requires a reimagining of the ethnomusicological project as modeled in the theistic, nonsecular work of Judith Becker, Katherine Hagedorn, Alisha Lola Jones, and Braxton Shelley. Engelhardt argues that in a renewed discipline, theological concepts become translatable theoretical tools and scholars’ knowledge of other-than-human relationships become ethnographic data. Entangling music and religion progressively transforms what ethnomusicology is and who ethnomusicologists are.</jats:p>