This volume is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Ranging across the Middle East, Central Asia and North India, it brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers' reports and descriptions of instruments, on musical institutions and other spaces of musical performance. Extending the implications of Wright's own work, it argues for an ethnomusicology of the…mehr
This volume is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Ranging across the Middle East, Central Asia and North India, it brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers' reports and descriptions of instruments, on musical institutions and other spaces of musical performance. Extending the implications of Wright's own work, it argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Rachel Harris is Reader in the Music of China and Central Asia at SOAS, University of London, UK. Her research interests include global musical flows, identity politics, gender, and ritual practice. She is the author of two books on musical life in China's Xinjiang Uyghur Autonomous Region, and co-editor of three books. She currently leads an AHRC Research Network and the Leverhulme Research Project 'Sounding Islam in China'. She is actively engaged with outreach projects relating to Central Asian and Chinese music, including recordings, musical performance, and consultancy. Martin Stokes is King Edward Professor of Music at King's College, London, UK. He has taught ethnomusicology at Queen's University Belfast, the University of Chicago, and Oxford. He is the author of The Arabesk Debate: Music and Musicians in Modern Turkey (1992), and The Republic of Love: Cultural Intimacy and Turkish Popular Music (2010). His edited volumes include Ethnicity, Identity and Music (1994) and (with Karin Van Neiuwkerk and Mark Levine) Islam and Popular Culture (2015).
Inhaltsangabe
Introduction - Tuning the Past: The Work of Owen Wright Martin Stokes Part I: Ottoman Legacies 1 New Light on Cantemir Eckhard Neubauer 2 Towards a New Theory of Historical Change in the Ottoman Instrumental Repertoire Jacob Olley 3 Not Just Any Usul: Semai In Pre-Nineteenth-Century Performance Practice Mehmet U ur Ekinci 4 Itri's 'Nühüft Sakil' in the Context of Sakil Pe revs in the Seventeenth Century Walter Feldman 5 Giambattista Toderini and the 'Musica Turchesca' Giovanni De Zorzi 6 At the House of Kemal: Private musical gatherings of Istanbul from the late Ottoman Empire to the Turkish Republic Panagiotis C. Poulos 7 Kâr- Nev: Elongation and Elaboration in Recordings of a Turkish Classic John O'Connell 8 Measuring intervals between European and 'Eastern' musics in the 1920s: The curious case of the panharmonion or 'Greek organ' Eleni Kallimopoulou Part II: Historical and theoretical themes in the music of the Islamic world 9 "Words Without Songs": The social history of Hindustani song collections in India's Muslim courts c.1770-1830 Katherine Butler Schofield 10 The music of the Timurids and its legacy in Afghanistan John Baily 11 Theory and practice in contemporary Central Asian maq m traditions: the Uyghur On Ikki Muqam and the Kashmiri S fy na Mus q Rachel Harris 12 The Terminology of Vocal Performance in Iranian Khorasan Stephen Blum 13 Whispering to God: Mon j t in Khorasan Ameneh Youssefzadeh 14 Between Formal Structure and Performance Practice: On the Baghdadi Secular Cycles Scheherezade Hassan 15 Al-Farabi's Qanun: A Re-Exposition of Ptolemy's Kanon as a Didactic Instrument for the Tone System George Sawa Postlude - Conversation with Owen Wright Rachel Harris Owen Wright: Full Bibliography Glossary
Introduction - Tuning the Past: The Work of Owen Wright Martin Stokes Part I: Ottoman Legacies 1 New Light on Cantemir Eckhard Neubauer 2 Towards a New Theory of Historical Change in the Ottoman Instrumental Repertoire Jacob Olley 3 Not Just Any Usul: Semai In Pre-Nineteenth-Century Performance Practice Mehmet U ur Ekinci 4 Itri's 'Nühüft Sakil' in the Context of Sakil Pe revs in the Seventeenth Century Walter Feldman 5 Giambattista Toderini and the 'Musica Turchesca' Giovanni De Zorzi 6 At the House of Kemal: Private musical gatherings of Istanbul from the late Ottoman Empire to the Turkish Republic Panagiotis C. Poulos 7 Kâr- Nev: Elongation and Elaboration in Recordings of a Turkish Classic John O'Connell 8 Measuring intervals between European and 'Eastern' musics in the 1920s: The curious case of the panharmonion or 'Greek organ' Eleni Kallimopoulou Part II: Historical and theoretical themes in the music of the Islamic world 9 "Words Without Songs": The social history of Hindustani song collections in India's Muslim courts c.1770-1830 Katherine Butler Schofield 10 The music of the Timurids and its legacy in Afghanistan John Baily 11 Theory and practice in contemporary Central Asian maq m traditions: the Uyghur On Ikki Muqam and the Kashmiri S fy na Mus q Rachel Harris 12 The Terminology of Vocal Performance in Iranian Khorasan Stephen Blum 13 Whispering to God: Mon j t in Khorasan Ameneh Youssefzadeh 14 Between Formal Structure and Performance Practice: On the Baghdadi Secular Cycles Scheherezade Hassan 15 Al-Farabi's Qanun: A Re-Exposition of Ptolemy's Kanon as a Didactic Instrument for the Tone System George Sawa Postlude - Conversation with Owen Wright Rachel Harris Owen Wright: Full Bibliography Glossary
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