West Asia Bates, Eliot Document Version Early version, also known as pre-print Citation for published version (Harvard): Bates, E 2010, West Asia. in Oxford Bibliographies Online: Music. Oxford University Press. Link to publication on Research at Birmingham portal General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. Users may freely distribute the URL that is used to identify this publication. Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. User may use extracts from the document in line with the concept of fair dealing under the Copyright, Designs and Patents Act 1988 (?) Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive. If you believe that this is the case for this document, please contact UBIRA@lists.bham.ac.uk providing details and we will remove access to the work immediately and investigate. Download date: 01. Mar. 2018
OxfordBibliographyOnline:Music Citationstyle:Sciences Versiondate:November19,2010 WESTASIA EliotBates CornellUniversity Introduction GeneralOverviews SourceStudies Journals Multimedia TurkeyandtheOttomanEmpire UrbanArtMusicintheOttomanEra UrbanArtMusicintheRepublicanEra MusicTheory(makam/usul) Rural,FolkandTraditionalMusics Modernization TurkishPop,Arabesk,RockandHipHop TheMashriq(Levent)andEgypt ArabMusic Pre-AbbasidandAbbasidPeriod MelodicModalTheory(maqam) Egypt SyriaandJordan Lebanon Iraq IsraelandthePalestinianTerritories ArabianPeninsula Armenia Azerbaijan ReligiousMusicandOratoricalPractices Islam Christianity Judaism Ethnicity KurdsandZazas Diasporas INTRODUCTION ThereisnosingularacceptedwaytodefinetheboundariesofaregionreferredtoalternativelyasWest Asia,theMiddle/NearEast,theArabworld,ortheEasternMediterranean inpartsinceboundarieshave beeninconstantflux,andsincemanylocaleswithintheregionareprofoundlyconnectedtootherplaces
intheworld.thetermwestasiacomplementsentriesonthemusicsofcentral,southandeastasia.i surveytheresearchonthemusicoftheturkish,armenian,azeri,hebrewandkurdishspeakingworld, andthearabworldeastofthemaghreb roughlysynonymouswiththeterritorywithinpresent-dayegypt, Israel,Syria,Jordan,Lebanon,Turkey,Armenia,Azerbaijan,Iraq,Bahrain,Oman,andYemen.Ialso includeworksondiasporasoriginatingfromthisregion. TheWestAsianregionparadoxicallycanbecharacterizedbyboththeextremeheterogeneityoflocal musicalformsandinstrumentsandthestrongconnectionsbetweenthepractices,instrumentsand theoreticalsystemsoftheurbanareas.justwithinturkey,britishzoologist/musicologistlaurencepicken 1976discoveredoveronethousanduniquefolkinstrumentsandrepertoiresthatseeminglywere performedsolelyinonelocale.incontrast,ottomanartmusicfromistanbuliscentraltoarab conservatorycurricula;popularsongsfrombeirutandcairoareregularlytranslatedintohebrewor Turkish;andinstrumentssuchastheoud,ney,zurna/mizmar,kanunandbendir/dafareperformed throughouttheregion.severalphenomenasupporttheideathattherearesignificantculturalandmusical interrelationswithintheregionthatdistinguishwestasianmusicsfromthoseofcentralasiaandnorth Africa.Numerousmanuscriptsdatingtothetenthcenturysurvivedandweretranslatedintolocal languages,contributingtoaearlywidespreadstandardizationoftheconceptualizationofmodaltheory. CenturiesofOttomanrulecontributedtoacirculationofmusicians,instrumentsandmusicsthroughout WestAsia.Morerecently,theregionhascontinuedtobeactivelyconnectedviaradio,TV,circulating soundrecordings,andcross-culturalcollaborationsatfestivals.yet,thishasnotresultedina homogenizationofmusicalpractice.theformalizedmelodicmodalsystemsinturkey(makam),egypt- Syria-Lebanon(maqam)andAzerbaijan(muqâm)sharesimilarnames,butfeaturenumerousdifferences regardingintonation,modulationandtheontologyofmelodicmodes;therhythmic/metricalsystems(īqā inarabic,usulinturkish)featureevenmoredivergences.intheaftermathofthecollapseoftheottoman Empire,theriseofnationalismmovementswereaccompaniedbystrongupheavalsinmusicalaesthetics, resultinginnewgenres(arrangedfolkmusicinturkey;ughniyyainegypt,shireieretzyisraelinisrael). BothlocalandforeignscholarshaveconductedconsiderableresearchinWestAsia,withan overwhelmingfocusonmusicinturkey(primarily,ruralanatolianfolkmusicsandottomanurbanart music),egypt(focusedonthedevelopmentofthecairorecordindustryandmodernmusicinstitutions, andthefirstgenerationofstarperformers),andisrael(theoraltransmissionofreligiousmusic,andpost- 1950sdevelopmentofpopularandethnicmusicstyles).Otherscholarshavecreatedcriticaleditionsof importanthistoricaltextsoriginallywritteninthearabic,persian,andottomanturkishlanguages. However,muchofthemusicallifeintheregionremainsunstudiedorunderstudied.Withtheexceptionof workinyemenfewscholarlystudiesinvestigatethearabianpeninsula;andonlyahandfulofscholars havedoneworkinjordan,iraqandazerbaijan,orconsideredruralfolkmusicinegyptorsyriaandnon- TurkishlanguagemusicsinTurkey. GENERALOVERVIEWS TheMiddleEastvolumeoftheGarlandEncyclopediaofWorldMusic Danielson,MarcusandReynolds 2002 hasbecome,sinceitspublication,thedefactoreferenceworkonmusicintheregion.thesurvey byshiloah1992isoneofthemorereferencedbibliographies,atleastforenglish-languagematerial. Poché,LambertandBrandily2000createdacomprehensivebibliographyofFrench-languageresearch, whilethearticlebybohlman1987providesausefulsurveyofnineteenthcenturyeuropeanwritingson musicinwestasia.thereareseveralexcellentcollectionsofessays:farmer1997consistsofmostof HenryGeorgeFarmer sshorteressays;nooshin2009containsessaysexploringissuesofpower, gender,andnation;andzuhur1998andzuhur2001featurenumerousarticlesaboutaestheticsin performingarts.
Bohlman,PhilipV. TheEuropeanDiscoveryofMusicintheIslamicWorldandthe Non-Western in19th- CenturyMusicHistory. JournalofMusicology5.2(1987):147-163. AconcisesurveyofEuropeanwritingsonmusicfromNorthAfricaandWestAsia,startingwith VilloteauandextendingthroughAmbros. Bohlman,PhilipV. MiddleEast. GroveMusicOnline.OxfordMusicOnline. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/19659] AsurveyofmajorconceptsconcerningthemusicofNorthAfricaandCentralandWestAsia. Danielson,Virginia,ScottLloydMarcusandDwightFletcherReynolds.TheMiddleEast.Garland EncyclopediaofWorldMusic,vol.6.NewYork:Routledge,2002. Withinthese1100+pagesaredozensofarticlesrangingfromthegeneral(S.Q.Hassan s MusicalInstrumentsintheArabWorld )tothespecific(martinstokes CemKaraca,live: Turkishrockandpopmusic ),withamuchstrongeremphasisonegypt,turkeyandiranthanon othercountries.thechaptersbyirenemarkoff,scottmarcusandmichaelfrishkopfcontain previouslyunpublishedmaterialandstandoutasthebestworksinthecollection.theindexis indispensable. Farmer,HenryGeorge.StudiesinOrientalMusic.FrankfurtamMain:InstitutefortheHistoryofArabic- IslamicScienceattheJohannWolfgangGoetheUniversity,1997. TwovolumecollectioncontainingmostofFarmer sshorterwritingsonmusicinwestasia, includingarticlesaboutparticulartextualsources;specificinstruments,modesandmusical genres;andfarmer saccountofthe1932cairocongress. Nooshin,Laudan.MusicandthePlayofPowerintheMiddleEast,NorthAfricaandCentralAsia.Surrey, UK;Burlington,VT:Ashgate,2009. ThearticlesinthiseditedcollectionpertainingtoWestAsiaincludeLohman sanalysisofuum Kulthum s ConcertsforEgypt; Stokes articleonmicrophonesandthefirstegyptiancrooner, Abdal-HalimHafiz;Frishkopf sworkontheideologicaldebatestranspiringinegyptconcerning mediatedbroadcastofqur anicrecitation;andshelemay sessayon thesilentvoicesofwomen (269)intheSyrianJewishmusicaltradition. Poché,Christian,JeanLambertandMoniqueBrandily.MusiquesduMondeArabeetMusulman: BibliographieEtDiscographie.Paris:LibrairieorientalisteP.Geuthner,2000. ExcellentbibliographyofFrench-languagepublicationsonArabmusicand,morebroadly,music intheworldofislam. Shiloah,Amnon. WestAsia. Ethnomusicology:HistoricalandRegionalStudies.Ed.HelenMeyers.New York:Norton,1992.260-273. SurveyofacademicresearchonmusicsinNorthAfricaandWestAsia,withastrongerfocuson historicalstudies.afrequentlyreferencedbibliography. Zuhur,Sherifa,ed.ColorsofEnchantment:Theater,Dance,Music,andtheVisualArtsoftheMiddle East.Cairo:AmericanUniversityinCairoPress,2001. Thereareseveralgoodchaptersinthiseditedcollectionwhicharen tfoundanywhereelse: MichaelFrishkopf sarticleontarabwithinegyptiansufipractices,sherifazuhur schapteronthe composer/oudist/singerfaridal-atrash,philipschuyler swritingsonacontemporaryyemeni operetta,andnielvanderlinden sworkonclassicaliraqimaqam. Zuhur,Sherifa,ed.ImagesofEnchantment:VisualandPerformingArtsoftheMiddleEast.Cairo: AmericanUniversityinCairoPress,1998. Chaptersofnotewithinthiseditedcollection:KayHardyCampbell sarticleonfolkmusicinsaudi Arabia(oneoftheonlyextantwritingsonmusicinSaudiArabia);anarticlebySelimSednaouion WesternClassicalmusicperformanceinEgypt;abriefinterviewwithNewYork-basedPalestinian oudartistsimonshaheen,andseveralpiecesondanceandfilm.
SOURCESTUDIES ExtantmanuscriptsspecificallyonmusicinWestAsiadatebacktoatleasttheeighthcentury,while numerousmentionsofmusicarefoundinevenearliersources.d Erlanger1930-1949wasthefirstto publishcriticaleditionsofwritingsspanningthetenththroughfifteenthcenturies.georgesawahas conductedthemostextensivesourcestudiesofearlyabbasidsourcesinsawa2004andsawa2009, includingwritingsbyal-farabi,al-isbahaniandal-kindi.amnonshiloah stwo-volumeworkformrism, Shiloah1979andShiloah2003,describeshundredsoflesser-knownArabiclanguagesourcesfromthe Abbasiderathroughthepresent.IsraelAlderconductedasimilarstudyofHebrewlanguagesources (Alder1975,Alder1989).EugeniaPopescu-Judetz2002,alongwithEckhardNeubauer2004arecritical editionsofottomanwritings.seealso*urbanartmusicduringtheottomanera*. Adler,Israel.HebrewWritingsConcerningMusic,inManuscriptsandPrintedBooksfromGeonicTimes upto1800.rism(répertoireinternationaldessourcesmusicales).munich:g.henleverlag,1975. Containsseveralhundredannotatedmanuscriptsderivedfrombiblicalsources,rabbinical interpretations,religiouspoetry,andothersources.seealsoadler1989. Adler,Israel.HebrewNotatedManuscriptSourcesuptoCirca1840:ADescriptiveandThematic CataloguewithaChecklistofPrintedSources.RISM(RépertoireInternationalDesSourcesMusicales). Munich:G.HenleVerlag,1989. TheprimaryhistoricalreferenceonHebrewsongs.IntandemwithAdler1975,representsthe mostcompletecatalogueoflibraryandarchive-heldhistoricaltexts. d Erlanger,BaronRodolphe.LaMusiqueArabe.Paris:P.Geuthner,1930-1949. Volumesoneandtwocontainatranslationandcriticalanalysisofal-Farabi skitābul-mūsīqīal- Kabīr(GrandTreatiseonMusic),volumethreefocusesontwoworksbySafial-Din Abdal- Mu minal-urmawi,volumefouranalyzesananonymoustheorytextdedicatedtosultanmehmed II(d.1481)andal-Ladhiqi swritings.involumefived Erlangerattemptstosynthesizethe musical-theoreticalaspectsofthepreviousvolumestoderiveastandardizedtheoryofarab music,whichiselaboratedthroughnotationsof119taqsim(instrumentalimprovisations). AlthoughWright1978andSawa2009aremorethorougheditionsofal-Farabi sandsafial-din s writings,d Erlanger sisstilltheonlyextanttranslationofal-ladhiqi,andhisanalysisofarab modaltheorywasamonumentalundertakingthatcontinuestoberelevanttoarabicmusic historiography Popescu-Judetz,Eugenia.TanburiKüçükArtın:AMusicalTreatiseoftheEighteenthCentury.Istanbul: PanYayıncılık,2002. AcriticaleditionoftheMûsikîEdvârı,amid-eighteenthcenturywritingbytheIstanbul-based, ethnicallyarmeniancourtmusicianandmusictheoristtanburîküçükartın.theoriginalwas writteninturkishwitharmenianscript;thiseditionprovidesafulltransliterationintomodern Turkish,alongwithstaffnotationofallthemusicaldiagramsoriginallynotatedinArmenianscript andextensivecriticalcommentaryinenglish. Popescu-Judetz,EugeniaandEckhardNeubauer.Seydi sbookonmusic:a15thcenturyturkish Discourse.FrankfurtamMain:InstitutefortheHistoryofArabic-IslamicScienceattheJohannWolfgang GoetheUniversity,2004. LittleisknownaboutSheykhSeydi,exceptthatthebookpresentedherewascompletedsome timearound1500ad.itsurvivesasthemostextensiveexampleofwhatpopescu-judetzterms the Anatolian schoolofmusicalwriting,incontrasttothearab-persianschoolexemplifiedby Safial-Dinandal-Maragi.Thisbookcontainsreproductionsoftheoriginaltextandtranslationinto English,withextensivenotesonthetranslationprocessandontheknownmusicalvocabularyof thetime.
Sawa,George.RhythmicTheoriesandPracticesinArabicWritingsto339AH/950CE:Annotated TranslationsandCommentaries.Ottawa:InstituteofMediaevalMusic,2009. TheauthoritativeEnglish-languagetranslationofthemusic-relatedwritingsofal-Farabi,al- Isbahani,andal-Kindi,manyofwhichhadnotbeenaccessibleuntilnow.Containsavaluable glossary,tablesofmelodicandrhythmicmodes,anddiscussionofthepedigreeofeachsource. Sawa,George.MusicPerformancePracticeintheEarly AbbasidEra132-320A.H./750-932A.D.Ottawa: InstituteofMediaevalMusic,2004. Extensiveanalysisofthewritingsofal-Farabiandal-Isbahani.Coverstheircontributionstothe understandingofrhythmicandmodaltheory,performancecontexts,performancepractice,and theaestheticsofmusic.revisedversionoftheworkoriginallypublishedin1989. Shiloah,Amnon.TheTheoryofMusicinArabicWritings(c.900-1900):DescriptiveCatalogueof ManuscriptsinLibrariesofEuropeandtheU.S.A.RISM(RépertoireInternationalDesSources Musicales).Munich:G.HenleVerlag,1979. ThiscatalogbuildsontheworkofH.G.Farmer(TheSourcesofArabianMusic),including significantlymorepreviouslyunknownsources. Shiloah,Amnon.TheTheoryofMusicinArabicWritings(c.900-1900):DescriptiveCatalogueof ManuscriptsinLibrariesofEgypt,Israel,Morocco,Russia,Tunisia,Uzbekistan,andSupplementtoBX. RISM(RépertoireInternationalDesSourcesMusicales).Munich:G.HenleVerlag,2003. Companiontothe1979volumeinthesameseries,adding185sourcesnotinthepreviouswork. JOURNALS Thissectioncontainspeer-reviewedjournalswhereeithermuchofthecontentspecificallypertainsto musicalpracticesinwestasia(turkishmusicquarterly,musicandanthropology,asianmusic),oris writtenprimarilybyscholarsbasedinisrael(min-ad)orturkey(journalofinterdisciplinarymusicstudies, Musıkişinas). *Min-Ad:IsraelStudiesinMusicology[http://www.biu.ac.il/hu/mu/ims/Min-ad/]* Min-Ad(1999-present)wasacontinuationoftheoccasionalpublication,theIsraelStudiesin Musicology.IncludesafullgamutofscholarlyapproachestothestudyofmusicinIsrael,aswell asisraelimusicologicalstudiesofeuropeanartmusic.[englishandhebrew] *TurkishMusicQuarterly[http://www.umbc.edu/eol/tmq/]* Short-livedpublication(1988-93)witharticlesinEnglish,primarilyconcerningOttomanartmusic. *JournalofInterdisciplinaryMusicStudies[http://www.musicstudies.org/]* Online,open-accessinternationalpublicationbasedinIzmir,Turkey,publishing ethnomusicologicalandmusiccognitionarticlessince2007. *MusicandAnthropology[http://www.umbc.edu/MA/]* OnlinejournalforethnographicstudiesofMediterraneanmusicthatpublishedannualissues between1996and2006. Musıkişinas BoğaziçiUniversity(Istanbul)publishesthisjournal,whichcontainslocalscholarshipaswellas translationsofforeignmusicologicalandethnomusicologicalworks.agoodresourceforlocating emergingscholarshipinturkey.[turkish] *AsianMusic[http://asianmusic.skidmore.edu/]* AlthoughthejournalcoversamuchbroadergeographicalareathanWestAsia,ithasbeena primarysiteforthepublicationofrelevantethnomusicologicalworksinceitsinceptionin1969. BackissuesavailableatJSTOR. MULTIMEDIA
Manyrecordlabels,basedbothinWestAsiaaswellasinNorthAmerica,EuropeandJapan,have releasedrecordingsofmusicfromwestasia.however,twolabelsinparticularstandout KalanMüzik Yapım(Istanbul)andTraditionalCrossroads(NewYork) astheirrecordingsareofaveryhighquality, andinmanycasestheextensivelinernotesarethebest-researchedandmostauthoritativetextual sourceonthekindofmusicinquestion. *KalanMuzikYapım[http://www.kalan.com/]* Turkishrecordlabelwithanextensivecatalogofreleases,includingarchivalreissuesofurban andruralmusicfromthetrt(turkishradioandtelevision)archive,tvandfilmsoundtracks, digitalremastersofwaxcylindersandearlyflatdiscrecordings,andcontemporaryreleasesof urbanartmusic,turkishfolkmusic,andanatolianethnic(e.g.kurdish,laz,syriac,zaza, Armenian)music.ThearchiveseriesanddeluxeeditionCDstypicallycontainextensiveliner notes,inenglish,turkish,andotherlanguages. *TraditionalCrossroads[http://www.traditionalcrossroads.com/]* U.S.recordlabelthathasreleasedthemostsignificantcontemporaryandhistoricalArmenian recordings,aswellasotherarchivalreissuesofrecordingsmadeinistanbulintheearly20th century,andnewrecordingsofearlyottomanmusic.mostarchivalcdscontainextensiveliner notes. TURKEYANDTHEOTTOMANEMPIRE TheOttomanEmpirewasamultiethnicandmultilingualempirethatatitszenithencompassedWestAsia fromthemediterraneantothecaspiansea,mostofnorthafrica,andtheslavic,greekandhungarian regionsofeurope.followingthedefeatoftheottomansinworldwari,therepublicofturkeywas establishedin1923asasecularmonolingualnation,andanessentialpartofthenationalismprojectwas thecollection,dissemination,andarrangementofsongsresultingfromfolkloreexpeditionstorural Anatolia(thepartofTurkeyontheAsiansubcontinent).DuringthesametimeOttomanartmusic,once anurbanphenomenoninwhichmanyturks,greeks,armenians,jewsandrom( gypsies )participated, becameassociatedwithottoman backwardness andtemporarilylostitsinstitutionalsupport.popular musicinturkeyhasdrawnextensivelyonlateottomansonggenres,however,andartmusichasseen somewhatofarevivalsincethe1990s.thetwovolumeencyclopedicdictionaryöztüna2006isan extremelyusefulreferencefortopicspertainingtoottomanandearlyrepublicaneraturkishmusic.two worksthatattempttointroducebothruralandurbanmusicpracticestoageneralreadershiparebates 2010andReinhardandReinhard1984.Ünlü2004isareferenceforthehistoryofthefirstfiftyyearsof soundrecordinginturkey. Bates,Eliot.MusicinTurkey:ExperiencingMusic,ExpressingCulture.GlobalMusicSeries.NewYork: OxfordUniversityPress,2010. IntroductorytextonmusicinIstanbul,focusingonthreeinterrelatedthemes:theroleofmusicin forminganationalconsciousnessaboutlocalandregionalcultures,thecreativerevitalizationand modernizationoftraditionalmusicthroughrecordedarrangements,andmusicalinstrument performanceandconstruction. Öztuna,Yılmaz.TürkMûsikîsi:AkademikKlasikTürkSan atmûsikîsi ninansiklopediksözlüğü(turkish Music:AnEncyclopedicDictionaryofAcademicClassicalTurkishArtMusic).Ankara:OrientYayınları, 2006. Awell-documentedencyclopedicresourceonOttomanandearlyTurkishRepublicaneraurban artmusic.amongthemostusefulentriesarethebiographiesofindividualcomposersandsurvey oftheircomposedworks,theentriesonottomanmusicpedagogyinstitutions,andthoseon instruments.[turkish]
Reinhard,Kurt,andUrsulaReinhard.MusikderTürkei.Wilhelmshaven:Heinrichshofen sverlag,1984. Thefirstvolumesurveysurbanartmusicandinstruments,includingMevlevisacredmusicand Ottomanartmusicforms,basedprimarilyonhistoricalsources.Thesecondvolumesurveys regionalfolkmusicstyles,basedonthereinhard smulti-decadefieldresearchinsoutheastern AnatoliaandalongtheBlackSeacoast.Thetwo-volumesetalsoservesasausefulbibliographic referencetopre-1980german-languagepublicationsaboutturkishfolkmusic. Ünlü,Cemal.GitZaman,GelZaman:Fonograf,Gramofon,TaşPlak(EveryTimeTimePasses: Phonographs,Gramaphones,andFlatDiscs).Istanbul:PanYayıncılık,2004. Theonlysubstantiveaccountofthepre-1950recordingindustryinTurkey.Aninvaluable referenceworkondomesticallyandforeign-producedwaxcylindersand78rpmdiscs.[turkish] UrbanartmusicintheOttomanEra Aconsiderableamountofcarefulresearchconcernsthechangingnatureofmusiceducationandthe institutionalsupportofartmusicduringthelateottomanera;aksoy2008andbehar1998arethebest worksinthisregard.wright1988andfeldman1996bothdealwithaspectsofmusicalchange.two Ottomancomposersinparticularhaveattractedmuchscholarlyattention.TheMoldovanprinceDimitrie Cantemir(1673-1723),whocametoIstanbulasahostage,endedupbeingaprolificcomposer,andhis notationsandwritingsonartmusic(collectivelyknownastheedvâr)documentacriticalmomentin Ottomanmusichistory(Popescu-Judetz1999,Wright2000).OfthebiographiesofTanburiCemilBey (1875-1916),perhapsthemostimportantcomposerofthelateOttomanperiod,thebiographybyhisson MesutCemil2002standsoutforitspersonalinsights. Aksoy,Bülent.GeçmişinMusikiMirasınaBakışlar(ViewsontheLegacyofMusicPast).Istanbul:Pan Yayıncılık,2008. AcollectionofessaysontopicsofOttomanmusichistoriography,thedevelopmentofmodern Turkishmusicology,andchangestotheperformancepracticeofOttomanartmusicwithinthe contextofradioorchestrasandothernewinstitutions.[turkish] Behar,Cem.AşkOlmayıncaMeşkOlmaz:GelenekselOsmanlı/TürkMüziğindeÖğretimveİntikal(When thereisnolovethereisnomeşk:educationandtransitionintraditionalottoman/turkishmusic). Istanbul:YapıKrediYayınları,1998. Meşkwasasocialinstitutionasmuchasitcomprisedaprimarilypedagogicalcontextforthe transmissionofottomanmusic.throughtracingthehistoryofmusicpedagogy,beharshowsthe changingaffect,effectandethicalconceptualizationandpracticeofmeşk.[turkish] Cemil,Mesut.TanburiCemil inhayatı(thelifeoftanburicemil).ed.uğurderman.istanbul:kubbealtı Neşriyati,2002. TanburiCemilBeywasoneofthefirstcomposer/instrumentalistsinTurkeytorecorda substantialbodyofwaxcylinders,andhisrecordingscontinuetobeaprimaryreferenceforthe properinterpretationofmakam.thisinsightfulbiographyiswrittenbyhisson,alsoanoted composer.[turkish] Feldman,Walter.MusicoftheOttomanCourt:Makam,CompositionandtheEarlyOttomanInstrumental Repertoire.InterculturalMusicStudies.Berlin:VWB-VerlagfürWissenschaftundBildung,1996. Therearecopiousinterestinganecdotesonmusicin16th-18thcenturyIstanbulcontainedinthis volume,andthesectionsonthepeşrevmusicalformandonthechangingimportanceandstatus ofparticularmusicalinstrumentsareparticularlystrong. Popescu-Judetz,Eugenia.PrinceDimitrieCantemir:TheoristandComposerofTurkishMusic.Istanbul: PanYayıncılık,1999.
AnaccessibleintroductiontothemusicallifeofCantemirandhismultifacetedcontributionto Ottomanmusichistoriography.ContainsfiftynotationsofCantemir scompositions,mostlytaken fromtheedvâr,aswellasseveralusefulcatalogsofwritingsandcompositions. Wright,Owen. AspectsofHistoricalChangeintheTurkishClassicalRepertoire. MusicaAsiatica5 (1988):1-108. Wrightoutlinesamethodforreconstructingmelodiesfoundintheseventeenthcenturycollections ofcantemirandaliufki,andcompareshisreconstructionsofseveralworkswithnotationsfound inearlytwentiethcenturyturkishcollectionstodemonstratethewaysinwhichottomanera repertoirehasundergonesignificantchangeduringcenturiesoftransmission. Wright,Owen.DemetriusCantemir:TheCollectionofNotations.Aldershot:Ashgate,2000. ThefirstvolumecontainsthecompletenotationsofCantemir.Thesecondvolumeisan exhaustivetechnicalanalysisofthesenotatedworks,organizedbymakam,usul,andaspectsof musicalform. UrbanartmusicintheRepublicanera TheestablishmentoftheRepublicofTurkeyin1923notonlyconstitutedaradicalchangeinthepolitical structureoftheregion,butinitiatedaneraofreforminculturalinstitutions.o Connell2000looksat pedagogicalreformsinthe1920s.teikelioğlu2001discussesgovernmentculturalreformprojectsinthe 1930s.Beken2003providesoneofthefewethnographicstudiesofartmusicperformance,andthe aestheticissueshediscussesinparthavetheirgenesisinthemodernizationprocessesdiscussedby O ConnellandTekelioğlu.ThebookbyTaşan2000wasthefirsttobringtolighttheconsiderablenumber offemalecomposerswhocreatedottomanurbanartmusic. Beken,Münir. *AestheticsandArtisticCriticismattheTurkish Gazino[http://www.fondazionelevi.it/ma/index/number8/gazino/bek_00.htm]* MusicandAnthropology8 (2003). Thegazinoisacontextfortheperformanceoffasıl(lightartmusic)withrootsdatingtothe19th century.beken sisoneoftheonlyextantethnographic,fieldresearch-basedstudiesonthe performanceofurbanartmusicinturkey. O Connell,JohnMorgan. FineArt,FineMusic:ControllingTurkishTasteattheFineArtsAcademyin 1926. YearbookforTraditionalMusic32(2000):117-142. Discussionofaestheticsdebatesthataccompaniedthemodernizationofmusiceducationin Turkey,focusingonthedichotomybetweenalaturka(musicina Turkish style)andalafranga (musicina French orforeignstyle). Taşan,Turhan.KadınBesteciler(WomenComposers).Istanbul:PanYayıncılık,2000. BiographiesoffemalecomposersduringthelateOttomanandearlyTurkishRepublicanera,with alargecollectionofnotatedscores.[turkish] Tekelioğlu,Orhan. ModernizingReformsandTurkishMusicinthe1930s. TurkishStudies2.1(2001): 93-108. TekelioğuanalyzesthediscoursesaroundtheriseandfallofthemusicmagazineNota(founded in1930)toshowhowoneparticularmodelofmusicalsynthesisbecameadoptedinearly RepublicanTurkey. MusicTheory( makam/usul) Ottomanartmusic,aswellasmanyformsofurbanandruralfolkmusicfoundinpresent-dayTurkey,are theorizedthroughthemakam(melodicmode)andusul(rhythmic/metricalmode)systems.özkan1984is frequentlyreprintedandisthemostcommonlyusedreferenceformakam/usul.kutluğ2000isextremely difficulttofind,butregardedbymanycontemporarymusiciansasthemostaccurateandcomprehensive
work(forexample,kutluğnotatesover500makam-s,whileözkan sworkprovidesvaryingdegreesof detailabout130).forenglish-languagework,signell1977providesagoodintroductiontotheconcepts ofthetheoreticalsystemandthesortsofdiscrepanciesbetweentheoryandpractice,andpopescu- Judetz2007supplementsthiswithamorereference-stylecatalogofmakam-s.Yahya2002isoneofthe fewworkstoshowhowmakamunfoldswithintaksim(instrumentalimprovisations),aswellascontributing anuancedunderstandingofthemelodiccontoursofseveralmakam-s. Kutluğ,YakupFikret.TürkMusikisindeMakamlar:İnceleme(Makam-sinTurkishMusic:ACarefulStudy). Istanbul:YapıKrediYayınları,2000. ThemostcomprehensiveworkonOttomanandTurkishmelodicmodaltheory.Contains extensiveanalysisoftheworkofearliertheorists(e.g.ezgiandarel)aswellasnewfindings concerningthestructuringofmelodicmodes(makam)andtherelationbetweenthemodal structuresofurbanartmusicandturkishfolkmusic.[turkish] Özkan,İsmailHakkı.TürkMûzikisiNazariyativeUsûlleri:KudümVelveleleri(TurkishMusicMelodicand RhythmicTheory:KudümMethod).Istanbul:ÖtükenNesriyat,1984. InTurkey,thisworkisthemostwidelyusedsinglereferencebookonthetheoreticalpremisesof themakamsystem,andmostconservatory-stylemusictheoryeducationfollowsasimilar analyticalstructure.containsanalysis(ofvaryingdegreesofdetailandaccuracy)of150makams,notationof120worksinthesanatmüziğirepertoire,andasectionontheusulmetricsystem. [Turkish] Popescu-Judetz,Eugenia.ASummaryCatalogueoftheTurkishMakams.Istanbul:PanYayıncılık,2007. AusefulcompanionworktoSignell1977. Signell,KarlL.Makam:ModalPracticeinTurkishArtMusic.Seattle,WA:AsianMusicPublications,1977. Todate,theonlybook-lengthEnglish-languageworkonthemakamsystemofTurkishurbanart music.signell sworkcomparestheoft-citedtheoreticalworksbyearlyrepublicanerascholars EzgiandAreltothecontemporaryperformancepracticeofmakamastaughtbyTanburiNecdet Yaşar.Theworkdoesn tofferacomprehensivecatalogueofmakam-s(seepopescu-judetz 2007),butsuccessfullyconveysmanynuancesoftheconceptualizationofmakam. Yahya,Gülçin.UnlüVirtüözYorgoBacanos unudtaksimleri:taksimnotalari,analizveyorumlari(the OudImprovisationsofImportantVirtuosoYorgoBacanos:Transcriptions,AnalysisandCommentary). Ankara:T.C.KültürBakanlığıYayınları,2002. YorgoBacanos(1900-1977)washighlyregardedforhisrenditionsofmakam,andYahya s transcriptionsandcriticalcommentaryofferoneofthefewsubstantiveaccountsofthe performancepracticeofmelodicmodeincontemporaryurbanartmusic.[turkish] Rural, folkandtraditionalmusics RuralandtraditionalmusicintheTurkishlanguagehasattractedanimmenseamountofindigenousand foreignresearchsincethe1930swhentheturkishgovernmenthiredbartóktoconductastudyofvillage musicinsoutheasternanatoliaandtrainlocalfolklorists,asrecountedinbartók2002andsaygun1976. OneofthemostextensivesubsequentcollaborativestudiesisPicken1975,asurveyofoverone thousandlocalfolkinstrumentsfromruralanatolia.thereisalongtraditionofregionalsurveysamongst Turkishscholars;Öztürk2006isoneofthebestofsuchworks.Onetopicthathasreceivedparticular attentioninnumerousworks,başgöz2008,erdener1995,reinhardandpinto1989beingthemost notable,isthemusicofaşıkpoets,regardedwithinturkeyasoneoftheoldestsurvivingmusical traditions.oneworkthatexploresissuesofcreativitywithinfolkmusicpracticeismarkoff1991. Bartók,Béla,andPeterBartók.TurkishFolkMusicfromAsiaMinor.Homosassa,FL:BartókRecords, 2002.
Bartókwasoneofthefirstfolkloriststodoin-depthfieldresearchintomusicalpracticeinrural Anatolia,andthisbookcollectstogethermostofhiswritingsandnotationsabouthiscollecting expeditionintheadanaregionofsoutheasternanatolia.thisworkcontinuestobeinfluentialon contemporaryfolkloreinturkey.originallypublished1976. Başgöz,İlhan.Hikâye:TurkishFolkRomanceasPerformanceArt.Bloomington:IndianaUniversity Press,2008. Theculminationofoverfourdecadesoffolklorefieldresearch,thisbookconsidersthehikâye genreoffolkromanceliteraturesungbyaşıkpoetsthroughoutturkey.beautifullywrittenand exhaustivelyresearched,başgöz sworkprovidesunprecedentedinsightintostorytelling,aşık literature,andthestructuringofnarrativeperformance. Erdener,Yildiray.TheSongContestsofTurkishMinstrels:ImprovisedPoetrySungtoTraditionalMusic. MilmanParryStudiesinOralTradition.NewYork:Garland,1995. AdetailedandvividethnographicaccountoftheaşıksingingtraditionsfoundintheEastern AnatoliancityofKars,includingextensivebiographicalinformationandsongtextanalysis. Markoff,Irene. TheIdeologyofMusicalPracticeandtheProfessionalTurkishFolkMusician:Tempering thecreativeimpulse. AsianMusic22.1(1991):129-145. Markoff sarticleconcernstheconceptualizationsheldbyprofessionalfolkmusiciansofthe meaningofandrelationbetweeninterpretation,authenticity,regionalperformancepractice,and creativity. Öztürk,OkanMurat.ZeybekKültürüveMüziği(ZeybekCultureandMusic).Istanbul:PanYayıncılık, 2006. AnexcellentstudyoftheZeybek,anAegean-regioncultureandsetofmusicalpractices.Öztürk providesanuancedhistoryoftheregionandthenineteenthcenturydevelopmentofzeybek culture,surveyspastfolkloreresearchinthearea,andconductsathoughtfulanalysisofrhythmic andmodalaspectsofzeybekinstrumentalmusic.[turkish] Picken,LaurenceErnestRowland.FolkMusicalInstrumentsofTurkey.London;NewYork:Oxford UniversityPress,1975. TheseminalworkonmusicalinstrumentsinWestAsia,withdetailedanalysesofhundredsof localizedfolkmusicinstruments,theirrepertoires,organologicaldetails,performancecontexts, andquotesfrominstrumentalists.thework,atypicalforthe1950s,wentfarbeyondmuseum workandincorporatedmulti-yearfieldresearchdonebypickenwithateamoflocalscholars, particularlyhalilyönetken(whowentontobecomeanimportantfolkloristinturkey). Reinhard,Ursula,andTiagodeOliveiraPinto.SängerundPoetenMitderLaute:Türkischeâşikund Ozan.Berlin:DietrichReimerVerlag,1989. AnalysisofrecordingsofaşıkpoetsfromCentralandEasternAnatolia,someofwhichwere recordedinturkeybykurtandursulareinhardfromthe1950s-60s,othersrecordedingermany ataşıkfestivalsinthe1980s.thebookisstrongonmusicalmotivicanalysisandtextualtopic frequencycharts,butprovideslittleinformationconcerningperformancecontexts,lifehistories,or thereceptionofaşıkpoetrywithinmodernturkeyorturkishdiasporas.[german] Saygun,AhmedAdnan.BélaBartók sfolkmusicresearchinturkey.budapest:akadémiaikiadó,1976. SaygunwasBartók sassistantduringtheseminal1936expeditiontoadana,andpublishedthis accountunawareoftheamericanpublicationofbartók strip(bartók2002).itthuscomprisesa fascinatingcomplementtobartók saccount,containingscores,analysis,photographs,andletters notfoundintheamericanvolume. Modernization Whilemostpre-1986writingstendedtotreatruralmusicpracticesandtraditionalfolkcultureasan unchangingphenomenon,startingwithmarkoff1986scholarsbegantopayattentiontothespecific
mechanismsthroughwhichtraditionalfolkmusicperformancepracticechanged,eitherduetochangesin pedagogy(markoff1986),toinstrumentconstruction(stokes1992),ortorecordingandarranging techniques(bates2010). Bates,Eliot. MixingforParlakandBowingforaBüyükSes:TheAestheticsofArrangedTraditionalMusic inturkey. Ethnomusicology54.1(2010):81-119. ThroughananalysisoftheprocesswherebyBlackSeatraditionalrepertoireisarrangedand digitallyrecordedandedited,batesexploresthedevelopmentoftwonewtraditionalmusical aestheticsinistanbul. Markoff,IreneJudyth. MusicTheory,PerformanceandtheContemporaryBaglamaSpecialistinTurkey. Ph.D.Dissertation,UniversityofWashington,1986. Acarefullyresearchedaccountofthe20 th centuryinstitutionalizationofturkishfolkmusic pedagogyandstandardizationofmusicalaesthetics.throughtranscriptionsandanalysesof multipleversionsofthesamesongs,markofftheorizestheprocesssazplayersuseto spontaneouslyelaboratemelodies.herdiscussionofregionallyspecifictavır(performance practices)wasthefirstaccountofanissuethatcontinuestobeimportant. Stokes,Martin. TheMediaandReform:TheSazandElektrosazinUrbanTurkishFolkMusic. British JournalofEthnomusicology1(1992):89-102. Stokescomparesthe rational discoursesurroundingformalizedinstructioninthelong-necked bağlama-sazwiththedevelopmentofanewplayingtechniqueforanelectricversionofthesaz. Turkishpop, arabesk, rockandhiphop Istanbul,asacosmopolitanEuropeancity,experiencedmanywavesofpopularmusic,includingthe tangocrazeinthe1930s,thenothertransnationalpopularstylessuchasrock(inthe1950s,seeözer 2003),disco(1970s)andhiphop(1990s,seeSolomon2005).However,asnotedinStokes1999,many indigenouspopularmusicstylesdevelopedwithintheistanbul-basedturkishrecordingindustry,including arabesk,agenrethatdrewonfasıllightartmusic(tekelioğlu1996),arabpopularmusic,anddance musicfromsoutheasternanatolia(stokes1992).akkayaandçelik2006,acollectionpublishedin Turkey,containsremarkableinterviewswithsingersandmusiciansattheheartoftheTurkishpop industryinthe1960s-70s. Akkaya,Ayhan,andFehmiyeÇelik,eds.60 lardan70 lere:45 likşarkılar(fromthe60stothe70s:45 RPMSongs).Istanbul:bgstYayınları,2006. In-depthinterviewswithsingers,musicians,producersandmusiccriticswhowereatthecenterof thepopularmusicindustryofturkeyinthe1960sand70s.incontrasttomostturkishpopular musicstudiescriticism,thisworkprovidesanintimatelypersonalaccountofthedevelopmentof theindustry.[turkish] Özer,Yetkin. CrossingtheBoundaries:TheAkdenizSceneandMediterraneanness. Mediterranean Mosaic:PopularMusicandGlobalSounds.Ed.GoffredoPlastino.NewYork:Routledge,2003.199-220. Özerconsiderstheeffectsofthe1980militarycouponpopularmusicproductioninTurkey,and tracesthedevelopmentofadepoliticized Mediterraneansound inthegenreknownasanadolu rock(anatolianrock). Solomon,Thomas. ListeningtoIstanbul :ImaginingPlaceinTurkishRapMusic. StudiaMusicologica Norvegica31(2005):546-567. AnalysisofhowthelyricsandmusicvideosoftheIstanbulrapgroupNefret re-imaginetheurban landscape,andintheprocessimaginetheirownlocalidentitiesintheglobalizingcity (62).
Stokes,Martin. SoundingOut:TheCultureIndustriesandtheGlobalizationofIstanbul. Istanbul: BetweentheGlobalandtheLocal.Ed.ÇağlarKeyder.Lanham,MD:Rowman&Littlefield,1999.121-142. DiscussesaspectsoftheTurkishmusicindustryinrelationtothesociopoliticalchangesunfolding inistanbulinthe1990s. Stokes,Martin.TheArabeskDebate:MusicandMusiciansinModernTurkey.OxfordStudiesinSocial andculturalanthropology.oxford;newyork:clarendonpress;oxforduniversitypress,1992. Thefirstethnographyofthearabeskpopularmusicgenreandoneofthefirstcultural anthropologicalstudiesofmusicinturkey.thearabeskdebatehadalargeimpactonthe structureofturkishmusicscholarshipandonthekindsofmusicgenresthatreceivedattention. Stokessituatesarabeskwithinnarrativesofpost-1950smigrationandpost-1960smediaindustry privatization. Tekelioğlu,Orhan. TheRiseofaSpontaneousSynthesis:TheHistoricalBackgroundofTurkishPopular Music. MiddleEasternStudies32.2(1996):194-215. Tekelioğlu sthesisisthatdiscoursesabout spontaneoussynthesis andculturalpoliticsthat wereprevalentatthetimeoftheformationoftheturkishrepubliclaidthefoundationforthe developmentofturkisharabeskandpopularmusics. THEMASHRIQ( LEVENT) ANDEGYPT TheMashriq(alsoknownastheLevent)consistsoftheArabcountrieseastofEgyptandnorthofthe ArabianPeninsula.EgyptiansconsideredthemselvesethnicallydistinctfromArabsuntilthetwentieth century,butfollowingthelaunchofanarabnationalismmovementindamascusinthe1910sand Nasser srisetopowerinegyptafterworldwarii,manyegyptiansembracedanarabidentity.partofthe musicalmanifestationofarabnationalismwasthedevelopmentofanarabrecording,filmandbroadcast industrycenteredincairoandbeirutandnewformsoftransnationalpopularsong. Arabmusic TwovitalworksonArabmusicarealFaruqi1981,whichhelpsthebeginningandexpertresearcheralike withunderstandingbothhistoricaltreatisesandcontemporaryresearch,andracy1991,whichprovidesa passionateaccountoftheaestheticsoftarab,anecstaticstatethatconnectslistenersandperformers.a keymomentinthestandardizationofmodalandrhythmictheoriesandthedevelopmentofarabmusicas atransnationalphenomenonwasthe1932cairocongress;racy1991isagoodintroduction,while Vigreux1992containstheentiretyoftheproceedingsandcommentarybyscholarsfromseveral countries.doubleday1999isoneofthefewconsiderationsofissuesofgenderinrelationtomusical instruments.seealso*sourcestudies*. Doubleday,Veronica. TheFrameDrumintheMiddleEast:Women,MusicalInstrumentsandPower. Ethnomusicology43.1(1999):101-134. Anexpansivearticlelookingatissuesofgenderandpowerinasynchronoussettings,ranging fromframedrumsinmesopotamianiconographytofemalemusiciansdepictedottoman miniaturestotheroleofdaffplayingwithintheheterodoxiraqiyazidicommunity. alfaruqi,loisibsen.anannotatedglossaryofarabicmusicalterms.westport,ct:greenwoodpress, 1981. ExhaustiveglossarybasedonhundredsofhistoricalandcontemporarysourceswritteninArabic, English,andFrench.Alsoextremelyusefularetwoappendixes;alistingofEnglish-language musicaltermswithallknownarabicequivalents,andalistingofarabicwordroots.
Racy,AliJihad. HistoricalWorldviewsofEarlyEthnomusicologists:AnEast-WestEncounterinCairo, 1932. EthnomusicologyandModernMusicHistory.Ed.StephenBlum,PhilipBohlman,&Daniel Neuman.Urbana:UniversityofIllinoisPress,1991.68-91. The1932CairoCongresswasaseminaleventinmodernArabmusichistory theonlymoment whensomeofthegreatestlivingmusiciansfromnorthafricaandwestasia(i.e.turkey,iraq,the Gulfstates,andtheLevent)werebroughttogethertoperform,record,anddiscussissuesabout thestructureofmaqam-basedmusicswithforeignscholars.racy sworkintroducesthecongress tonon-specialistreaders;toreadtheentireproceedings(infrench),seevigreux1992. Racy,AliJihad.MakingMusicintheArabWorld:TheCultureandArtistryofTarab.CambridgeMiddle EastStudies.Cambridge;NewYork:CambridgeUniversityPress,2003. RacyisahighlyacclaimedperformerofArabmusic(primarilyonbuzuqandnay),andthisbook istheculminationofseveraldecadesofresearchintothecontemporaryperformancepracticeof musicinegypt,lebanonandsyria.tarabisaformofecstaticstatethatconnectslistenersand performers,andracyexploresthiscomplextopicfromhistorical,social,musical,andlyrical perspectives. Vigreux,Philippe,ed.MusiqueArabe:LeCongrèsduCairede1932.Cairo:CEDEJ,1992. The1932CairoCongresswasperhapsthemostsignificantmomentinmodernArabmusic history,bringingtogetherscholarsandmusiciansfromthearabic-speakingworld(frommorocco toiraq)andturkeywitheuropeancomposers(bartók,hindemith),comparativemusicologists (Horbostel,Sachs)andhistorians(Farmer,d Erlanger).Containsthepublishedtextofthe1932 congressandacolloquiumorganizedbys.q.hassanin1989.[french] Pre-AbbasidandAbbasidPeriod AconsiderablebodyofwritingpertainstoArabandPersianmusicaltheoryandpracticefromtheseventh throughthethirteenthcentury.shehadi1995isperhapsthemostcogentintroductiontothephilosophies ofmusic,coveringelevenarabandpersianphilosophers.henrygeorgefarmer,inadditiontodoing sourcestudies,publishedtwoinfluentialworks;farmer1929ischronologicalandnarrativeinnature, Farmer1930proposeshistheoryoftheArabianmusicalinfluenceonEuropeanmonophonicand polyphonicpractices.seealso*sourcestudies*. Farmer,HenryGeorge.*AHistoryofArabianMusictotheXIIIth Century[http://www.archive.org/details/historyofarabian030364mbp]*.London:Luzac,1929. AchronologicalnarrativeaccountofmusicinArabsocietyfrompriortothebirthofIslamuntilthe falloftheabbasiddynastyin1258. Farmer,HenryGeorge.*HistoricalFactsfortheArabianMusical Influence[http://www.archive.org/details/historicalfactsf030523mbp]*.London:W.Reeves,1930. FarmerwrotethisworkinresponsetoanongoingdebateabouttheoriginsofEuropeanmusic theoryandinstruments.thefirstpartoftheworkcontainshisargumentthatitwasthrougharab scholarsthatancientgreektheorybecameknownineurope,andthatnotationalsystems, numerousmusicalinstruments,andeventheearlypolyphonicpracticeoforganumwereofarab origin.thesecondpartprovidesanannotatedbibliographyofarabicandpersianlanguage sources. Shehadi,Fadlou.PhilosophiesofMusicinMedievalIslam.Brill sstudiesinintellectualhistory.leiden; NewYork:E.J.Brill,1995. AnaccessibleintroductiontothemusicalphilosophyofeleveninfluentialphilosophersfromWest Asia,focusingonthemedievalperiodinIslambeginningwithal-Kindi(d.870)andendingwith IbnKhaldun(d.1406).
Melodicmodaltheory( maqam) Wright1978isasynthesisnumeroussourcesthatderivesageneralizedthirteenthcenturytheoryof melodicmode.marcus1989focusesonnineteenandtwentiethcenturyegyptianwritingsonmaqam, whichhecontrastswiththeperformancepracticeofcairoduringthe1970s-80s.mostoftheworksunder *SourceStudies*,aswell,pertaintohistoricalconceptualizationsofmaqamtheory. Marcus,ScottLloyd. ArabMusicTheoryintheModernPeriod. Ph.D.Dissertation,Universityof California,LosAngeles,1989. ThepublicationofthisdissertationwasaseminalmomentinArabmusichistoriography,as Marcus projecttracksthechangestotheconceptualizationandpracticalrealizationofarab musictheory,beginningwiththeoreticalsourcesfromthe1840sandculminatinginthe performancepracticeofcontemporarycairo.itistheonlyworkinenglishtocriticallyassess modernperiodarabscholarshiponmaqam(melodicmodes). Wright,Owen.TheModalSystemofArabandPersianMusic,A.D.1250-1300.Oxford;NewYork:Oxford UniversityPress,1978. AhighlytechnicalanalysisofSafial-Din Abdal-Mu minal-urmawiandqutbal-dinal-shirazi s thirteenthcenturywritings,whichcomprisethesystematistapproachtothetheorizationof melodicmode.wrightsuggeststhattheseworkssupporttheargumentforacommonoriginfor botharabandpersianmusic. Egypt MostforeignscholarshiponmusicinEgypthasbeensituatedinCairoanddealtwithcontemporary topics.el-shawan1980,el-shawan1984andracy1976primarilyexplorechangesintheinstitutional supportofmusicinegyptandthedevelopmentofensembleaesthetics.vannieuwkerk1995providesan ethnographyofprofessionaldancersincairo.thecairorecordingindustryformedaroundtheworkofa smallnumberofstarperformersoftenwhowerealsocomposersandinstrumentalists,andsubsequently scholarshavewrittenbiographicalworkswithmusicalanalysisconcerningmuhammad Abdal-Wahhāb (Azzam1990),UmmKulthum(Danielson1997)andMuhammadFawzy(Frishkopf2008).Anexcellent introductiontomusicinegypt,andoneofthefewworkstocoverinstrumentalmusicperformanceoutside ofcairoismarcus2007.finally,reynolds1995considerstheperformanceoforalepicpoetryinanile Deltavillage. Azzam,NabilSalim. Muḥammad Abdal-WahhābinModernEgyptianMusic. Ph.D.Dissertation, UniversityofCalifornia,LosAngeles,1990. Achronologicalaccountofthelifeandworksoftheimportantcomposer,singerandoudist Muḥammad Abdal-Wahhāb(1907-91),basedoninterviewsandsecondarysources. Danielson,Virginia.TheVoiceofEgypt:UmmKulthum,ArabicSong,andEgyptianSocietyinthe TwentiethCentury.Chicago:UniversityofChicagoPress,1997. UmmKulthum(1904-1975)wasoneofthefirstsuperstarsingersintheArabworld.Danielsonis theonlyauthorwhohasadequatelyassessedtheextentofummkulthum slegacy onethat goesfarbeyondacorpusofinfluentialperformancesandrecordings bycontextualizingumm Kulthum slifewithintwentiethcenturyegyptiannationalismandgamalabdelnasser sriseto power,andasaformidableforcewithinthenascentcairorecordingindustry. El-Shawan[Castelo-Branco],Salwa. TheSocio-PoliticalContextofAl-MusiḳaAl- arabiyyaiiincairo, Egypt:Policies,Patronage,Institutions,andMusicalChange(1927-77). AsianMusic12.1(1980):86-128. Surveyofchangestotheperformance,recordinganddistributionoftraditionalmusicinCairo.
El-Shawan[Castelo-Branco],Salwa. TraditionalArabMusicEnsemblesinEgyptSince1967: The ContinuityofTraditionWithinaContemporaryFramework? Ethnomusicology28.2(1984):271-288. El-Shawancomparesthepedagogicalandperformancepracticeaspectsoftraditionalensemble formationsfoundinpre-1940segyptianmusic,thetakhtandfirqah,withfirqatal-musiqàal- Arabiyyah,thegovernmentensemblefoundedin1967. Frishkopf,Michael. Nationalism,Nationalization,andtheEgyptianMusicIndustry:MuhammadFawzy, Misrphon,andSawtAl-Qahira(SonoCairo). AsianMusic39.2(2008):28-58. Extendingandnuancingthemacro-scalehistoricalworkdonebyRacy1976andel-Shawan 1980,FrishkopfprovidesadetailedaccountofMuhammadFawzy,anationalistic composer/singerwhofoundedthefirstrecordmanufacturingplantinthearabworldand transformedthepopularmusicworldofegypt. Marcus,ScottLloyd.MusicinEgypt:ExperiencingMusic,ExpressingCulture.GlobalMusicSeries.New York:OxfordUniversityPress,2007. AnintroductorytextonthemusicofcontemporaryEgyptdesignedforthenonspecialistreader, butwhichcontainsconsiderableprimaryresearchnotpublishedanywhereelseonthemadhsufi chantgenreandupperegyptianmizmarensembles.marcusprovidesanaccessibleintroduction totheegyptianconceptualizationofmaqamthroughfocusingononemode,maqamrast (perhapsthemostubiquitousmelodicmode),themodeofalltheexamplesonthelisteningcd. vannieuwkerk,karin.atradelikeanyother:femalesingersanddancersinegypt.austin:university oftexaspress,1995. AnethnographicstudyofprofessionaldancersinEgypt.MajorissuesinvanNieuwkerk swork includethedifferencesinperceivedhonorandshamebetweendancerswhoworkinhotels,in cheapernightclubs,andonmohammedalistreetincairo;andanuancedanalysisofgender, particularlythewaysinwhichfemaleentertainerscontradictprevalentconceptualizationsof femininityincontemporarycairo. Racy,AliJihad. RecordIndustryandEgyptianTraditionalMusic:1904-1932. Ethnomusicology20.1 (1976):23-48. AnadaptationofRacy sdoctoraldissertation,thisarticleprovidesanoverviewoftheearlyhistory ofrecordingpracticesinegypt,therolethatwaxcylinderrecordingsplayedincairoculture,and thetransnationalentrepreneurialcompaniesthathelpedformtheearlyegyptianmusicindustry. Reynolds,DwightFletcher.HeroicPoets,PoeticHeroes:TheEthnographyofPerformanceinanArabic OralEpicTradition.MythandPoetics.Ithaca:CornellUniversityPress,1995. OneofthefewfolkloriststostudyoraltraditionsintheArabworld,Reynoldsconductedfieldwork intheniledeltatownofal-bakatushandrecordedthesīrathanīhilāloralepic.hisbook beautifullydepictsthetextsandperformancecontextsofsīrathanīhilāl,whileregularly questioningwhetherornottheentiretraditionmaydieoutwithinamatterofyearsduetoshiftsin mainstreamattitudestowardsthe gypsy ethnicityofthepoets. SyriaandJordan ThefewmajorpublicationsonmusicinSyriaandJordanarediverseinsubjectmatter.Racy1996 investigatesbedouinmusicwithinthechangingsociopoliticallandscapeofsyriaandjordan;shannon 2006focusesoncontemporaryAleppoandmanifestationsofSufismandtarab;Shelemay1998explores theissueofmemoryamongstsyrianjewsinsyriaandnewyork,andvanaken2006examinesthe performativityofthedabkehlinedanceamongstpalestinianimmigrantsinjordan. Racy,AliJihad. Heroes,Lovers,andPoet-Singers:TheBedouinEthosinMusicoftheArabNear-East. TheJournalofAmericanFolklore109.434(1996):404-424.
RacysuggeststheneedtotheorizeBedouinmusicthroughanomadic-rural-urbancontinuum,as wellasinrelationtoethicalvaluesinthelocalitywherethemusicisperformed.thisworkis basedonfieldresearchracyandothersconductedinbedouinvillagesthroughoutthelevent, andonbedouincommunitiesinbeirutandotherurbancenters. Shannon,JonathanHolt.AmongtheJasmineTrees:MusicandModernityinContemporarySyria. Middletown,CT:WesleyanUniversityPress,2006. AculturalanthropologicalapproachtomusicincontemporaryAleppo,includingconsiderationsof thesufiritualpracticeknownasdhikr,the sentimental affectoftarab,andthemusicofoneof themostpopulartarabsingers,sābāhfakhri. Shelemay,KayKaufman.LetJasmineRainDown:SongandRemembranceamongSyrianJews. ChicagoStudiesinEthnomusicology.Chicago:UniversityofChicagoPress,1998. Anethnographyofpizmonim,arepertoryofsongssungbySyrianJews.Shelemaybeginswitha historicalinvestigationofrevitalizationofpizmoniminnineteenthcenturyaleppo,thenmovesto anethnographyofsyrianjewishcommunitiesabroad,particularlyinbrooklyn,newyork.her centralconcernishowpizmonim asanexpressiveformpreservesconsciousmemoriesand providesameansforaccessingunconsciousmemories (7). VanAken,Mauro. DancingBelonging:ContestingDabkehintheJordanValley,Jordan. Journalof EthnicandMigrationStudies32.2(2006):203-222. ThedabkehisthenationaldanceofJordan;VanAken sarticlepertainstofourth-generation PalestinianimmigrantslivingalongtheeastbankoftheJordanRiver,andhowdancingdabkehis forthemaperformanceofidentity,difference,andbelonging. Lebanon Fairouzisthebest-knownLebaneseperformerofthetwentiethcentury,andhercareerandvaried musicalrepertoirehasattractedquiteabitofscholarship.habib2005focusesprimarilyonmusical aspectsoffairouz,whilestone2008analyzescommentaryonfairouzthatpertainstoissuesof nationalismandpopularculture.racy1986isoneofthefewworksconcerningotheraspectsofthe contemporarymusicalcultureinlebanon. Habib,KennethSasin. TheSuperstarSingerFairouzandtheIngeniousRahbaniComposers:Lebanon Sounding. Ph.D.Dissertation,UniversityofCalifornia,SantaBarbara,2005. HabibbeginswithachronologicalaccountofthelivesandworkofFairouzandtheRahbani Brothers,thencontextualizestheirworkwithintheArabworldbeforeturningtoananalysisof vocalandorchestrationaesthetics.heprovidesdetailedtranscriptionsandlyricaltranslationsfor dozensofimportantfairouzsongs,whichinitselfwouldmakethisworkavaluablereference. Racy,AliJihad. WordsandMusicinBeirut:AStudyofAttitudes. Ethnomusicology30.3(1986):413-427. AnintroductiontothewaythatmusiciansandloversofmusictalkaboutmusicinBeirut.Racy thenanalyzestheseasasetofprevalentattitudestowardsmusic. Stone,ChristopherReed.PopularCultureandNationalisminLebanon:TheFairouzandRahbaniNation. London;NewYork:Routledge,2008. TheRahbaniBrotherswrotemuchofthemusicthathelpedFairouzbecomeoneofthemost successfultransnationalarabiclanguagesingers.stoneinvestigatesdiscoursessurrounding musicaltheater,film,radio,andthebaalbeckfestivalheldin1998aspartofhisprojectto connectthedevelopmentoflebanesepopularculturewithlebanesenationalism. Iraq