By Laudan Nooshin
What's it concerning the historical past, geographical place and cultures of the center East, North Africa and imperative Asia that has made song this sort of powerful and strong agent? This quantity offers the 1st direct examine the advanced courting among track and gear throughout various musical genres and nations. Discourses of energy within the zone centre on one of the most contested social matters, so much particularly in terms of nationhood, gender and faith. person chapters study the ways that track serves as a discussion board for enjoying out problems with energy, ideology, resistance and subversion. How does song develop into an area for selling - or conversely, resisting or subverting - specific ideologies or positions of authority? How does it accrue symbolic energy in ways in which are very specific, possibly certain? and the way does tune develop into a website of social keep an eye on or, on the other hand, a automobile for organization and empowerment, now and then overt and at others hugely refined? what's it approximately track that allows, and infrequently disrupts, the workout and flows of energy? Who controls such flows, how and for what reasons? In asking such questions within the context of nations comparable to Afghanistan, Egypt, Iran, Tunisia and Tajikistan, the booklet attracts on quite a lot of suitable theoretical and demanding principles, and lots of disciplines together with ethnomusicology, anthropology, sociology, politics, center jap reports, globalization stories, gender reports and cultural and media reviews. The international locations and components explored proportion very much in ancient and cultural phrases, together with a legacy of colonial and neo-colonial encounters and predominantly Judeo-Muslim spiritual traditions. it truly is was hoping that the amount will give a contribution finally to a richer figuring out of the position that track performs in those societies. This e-book positive factors tune reviews: ethnomusicology; cultural and media reviews; center jap song; and, Asian track.
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Additional info for Music and the Play of Power in the Middle East, North Africa and Central Asia
24 The work of Koskoff (1987) was seminal in this; see also the chapter by Robertson (1987) in the same volume. Prelude: Power and the Play of Music 17 through gender rather than through ‘race’ or ethnicity is telling. Whilst it would seem obvious enough that ‘ethnomusicology is founded on difference’ (Agawu 2003:152), for many decades scholars depended on essentialised notions of difference which served to obscure their constructed nature. Agawu has written at length about the constructed nature of difference in ethnomusicology and how this relates to issues of power (2003).
Since the 1987 coup, the advent of more inclusive notions of Tunisian identity has prompted a return to and renewed interest in previously marginalised traditions such as the ughniyya which have gained more centrality within the national imaginary. Similarly, as Langlois discusses for Morocco, the art music andalus repertoire is widely accepted as a ‘national treasure’, partly because of its strong class associations and in spite of its minority listenership. Clearly, notions of nationhood are forged in the context of a dialectic which is simultaneously inward-looking and outward-facing: a nation defines itself in terms of what it includes and what it excludes.
The discussion of emotional expression has a strong gender dimension, as Stokes discusses, particularly the fact that ‘Abd al-Halim’s amplified voice generated anxieties of a gendered nature, of emotionality out of control and in contrast to the predominantly male-gendered and more private environment of the tarab setting. A central question was how to control music’s power of excess, particularly when unleashed, via the microphone, to a vulnerable female audience. Stokes prompts a long-overdue re-evaluation of the role of technology in the public expression of emotion.