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LIST C OPTION
MUSIC OF THE MIDDLE EAST Lecturer: Dr Martin Stokes
HILARY TERMS 2008
This course develops a critical approach to the Middle East’s music that encompasses both well-established and more contemporary fields of inquiry. The first lecture considers the core problems of representation in the wake of the Orientalism polemics of the 1980s. The next three concern some traditional areas of ethnographic inquiry: tribalism, music in religious experience, modal knowledge in art music practice. The final three develop some more contemporary problematics: recent work on (the relatively rare) notations of repertory from the eighteenth century and questions of interpretation and historical reconstruction; music and political sentiment; music, migrancy and Diaspora. Aims and objectives Students will become familiar with the major repertories and performance traditions, and the key instrumentalists and vocalists of the region and its Diasporas; they will also, particularly in the latter part of the course, develop ways of thinking about voice, emotion and political power that will be of use elsewhere in their music studies. At a more general level, the course serves to deepen and extend students’ ability to read and think ethnographically about music, with reference to a major world music region. Students will be required to attend the seven lectures, do the reading and listening for each lecture, and work through the supplementary reading list. 1. Cairo Soundscape Reading: Bohlman, Philip V 2006. Middle East, New Grove Online, http://proxy.uchicago.edu/ Stokes, Martin 2002. “ ‘Silver Sounds in the Inner Citadel’: Reflections on Musicology and Islam”. In H. Donnan (ed.) Interpreting Islam. London: Sage, 167-189. 2. ‘Tribes’ and their music. Listening: Ahwash n-ayt mgun from Maroc: Musique Berbere du Haut-Atlas et de l’Anti-Atlas. Le Chant du Monde (CNRS/Musee de l’Homme) LDX 274 991, 1994. Narink 1 from Eyhok: Muzika Geleri ya Hekariye/Traditional Music of Hakkari, Kalan 317/318, 2004. Reading: Abu-Lughod, Lila 1986. Veiled Sentiments: Honor and Poetry in a Bedouin Society. Berkeley: University of California Press. Lortat-Jacob, Bernard 1994. Musiques en Fete: Maroc, Sardaigne, Roumanie. Nanterre: Societe d’ethnologie.
4. Composition and the Early Ottoman Instrumental Repertoire. Music of the Ottoman Court: Makam. Kristina 2001. in In the Course of Performance: Studies in the World of Musical Improvisation (ed. Listening: Sura al-Hujurat. Nettl. Listening: Enta Omry. Chicago: Chicago University Press. Walter 1996. The Art of Reciting the Qur’an. Ecstasy. B0000031FP. “Taqsim Nahawand Revisited: The Musicianship of Jihad Racy” in Bruno Nettl with Melinda Russell (eds. track 6c on Mesut Cemil. Golden Horn Records. Instrumental and Vocal Recordings. “Improvisation. 131. Kürdi Pesrev. on Tanburi Cemil Bey. track 8. Seçme Eserler 2. Institut du Monde Arabe 321023. 1980 . Cairo: American University of Cairo Press. Shajarian. Sultan Korkut. 1994. Bruno and Roland Riddle 1998. and Available Recordings”. track 1. ‘Ittihad’. Sultan Korkut. Sultan Bestekarlar: Turkish Classical Music Composed by Ottoman Sultans. final track from Sepideh. Berlin: Verlag 6. ed. track 5. 2000. Ma Li fi’l Wujudi Siwaka’. Chicago: Chicago University Press. Reading: Racy. ‘Ya Rabbi. 5. 95-112. 1993. Istanbul: Yapı Kredi Kültür Sanat Yayıncılık 2001. Sono 102. from Chants Soufis du Caire. Reading: Feldman. from Al Koran al Karim: Cheikh Abdel Bassed Mohamed Abdel Samad.d. Egypte. arts of maqam: Tanburi Cemil Bey and Mesut Cemil. Ali Jihad 1998. 1999.) In the Course of Performance: Studies in the World of Musical Improvisation. Bulletin of the Middle East Studies Association 34 (http://fp. CD attached to Kantemiroglu. Traditional Crossroads. Kantemiroglu Edvarı’ndan. Nihavent taksim (tanbur). Michael 2000. Listening: Nihavent Taksimi (tanbur). Listening: Kürdi Pesrev. Bruno Nettle with Melinda Russell). Reading: Frishkopf. Volumes 2 and 3. Arts of improvisation. Vocal Enchantment.htm) Nelson. 1999. Kitabu ‘Ilmi’l-Musiki ‘ala vechi’l-Hurufat. Union Records CDUM 9. Revolutionary Melodrama.arizona. Om Kolthom. Historical Dimensions: The Kantemir File. Sono Cairo. Religion and Music in the Middle East.FHS 2009 LIST C OPTION Chapter 3. Kalan 130. Yapı Kredi Kültür Sanat Yayıncılık. “Inshad Dini and Aghani Diniyya in Twentieth Century Egypt: A Review of Styles. and Performance Dynamics in Arabic Music”. Genres. Yalçın Tura.edu/messsoc/Bulletin/34-2/34-2%Frishkopf. 369-394. n.
. or specific topics – poetics. Safaafir. track 1 on Khaled. During. Campbell. noting carefully chapters by: Blum. 215-231. “Saida Sultan/Danna International: Transgendered Pop and the Polysemiotics of Sex. Music of Afghanistan: Professional Musicians in the City of Herat. O’Connell. Reading: Swedenberg. The Voice of Egypt: Umm Kulthum. Ted 2000. University of California Press. focusing on historical aspects. Marie 2003. . Lanham: Scarecrow. Bohlman. John 1988. diaspora. Politics and Ideology in the Middle East. Reynolds (2003). The Hundred Thousand Fools of God: Musical Travels in Central Asia (and Queens. “Representations and Female Roles in Rai Song” in T.) Armbrust. “Peaks of Yemen I Summon”: Poetry as Cultural Practice in a North Yemeni Tribe. Cambridge: Cambridge University Press. and Ethnicity on the Israeli-Egyptian Border” in W. Magrini (ed. North Africa and Central Asia. Barclay. Davies. Ruth. Berkeley. edited by V. S. Rasmussen. Armbrust (ed. 1989. Baily. Walter 1996. Al-Shawan Costello-Branco. Mass Culture and Modernism in the Middle East. Migrancy. Steven 1990. Stokes. and develop at least two areas of expertise with reference to the following list of books (e. Cambridge: Cambridge University Press. track 7 on Safaafir: Maqams of Baghdad.. 6 (The Middle East). Shay. Sawa. 5118152.) Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond.) Music and Gender: Perspectives from the Mediterranean. 88-119. specific regions. Philip V. Nation. music and politics. Chicago: University of Chicago Press. New York). Virolle. Seroussi. Frishkopf. 1996. 1992 ‘Foug il-Nakhl’. Guettat. Virginia 1997. Arabic Song. Ma’luf: Reflections on the Arab Andalusian Music of Tunisia. Nooshin (ed. Hassan. Ashgate Press. Chicago: Chicago University Press. Caton. Danielson. Levin.FHS 2009 LIST C OPTION Reading: Danielson. The Land Where Two Streams Flow: Music in the GermanJewish Community of Israel. Racy. etc. Marcus. And Egyptian Society in the Twentieth Century. Danielson and Fischer. Armbrust.). Ted. Marcus and D. Further Reading: Students should make good use of the Garland Encyclopedia of World Music Vol. Berkeley: University of California Press. Music and the Play of Power: Music. 2006. popular music. Urbana: University of Illinois Press. Touma. urbanization. cosmoplitanism. Bloomington: Indiana University Press. 2004. Martin (forthcoming) “Abd al-Halim’s Microphone” in L. Feldman. Reynolds. London 7. Listening: ‘Didi’.g. Levin.
Champaign: Elephant and Cat. Austin: University of Texas Press. War. Stone. Martin. Aldershot. Lanham: Scarecrow. Music in Egypt: Experiencing Music: Expressing Culture. Seattle: Asian Music Publications. The Republic of Love: Transformations of Intimacy in Turkish Popular Music. Middletown CT.FHS 2009 LIST C OPTION Marcus. Robert 2004 The Repertoire of Iraqi Maqam. Chicago: Chicago University Press. Ali Jihad 2003. Volume 2: Commentary. Making Music in the Arab World: The Culture and Artistry of Tarab. Nieuwkerk. Motti. 1992 The Radif of Persian Music: Studies of Structure and Cultural Context. Ashgate. Owen 1992. Racy. B. Toronto: Pontifical Institute of Medieval Studies. London: Routledge. Karl 1977. and Edwin Seroussi. Shannon. Sawa. Karin van 1995. Words Without Songs: A Musicological Study of an Early Ottoman Anthology and its Precursors. Popular Culture and Nationalism in Lebanon: Fairuz and the Rahbani Nation. 1992. Kay. Wesleyan University Press Signell. Scott 2007. Jonathan. Shelemay. Asmahan’s Secrets: Woman. 1998. Makam: Modal Practice in Turkish Art Music. “A Trade Like Any Other”: Female Singers and Dancers in Egypt. Music Performance Practice in the Early Abbasid Era. Schade-Poulsen. Marc 1999 Men and Popular Music in Algeria: The Social Significance of Rai. Nettl. 2007. Austin: University of Texas Press. 2004. Berkeley: University of California Press. Christopher. Stokes. 2006. forthcoming. Wright. Zuhur. Cambridge: Cambridge University Press Regev. Popular Music and National Culture in Israel. London: SOAS. George 1989. Wright. Among the Jasmine Trees: Music and Modernity in Contemporary Syria. Owen 2000. Oxford: Oxford University Press. . Let Jasmine Rain Down: Song and Remembrance among Syrian Jews. Oxford: Oxford University Press. and Song. Demetrius Cantemir: The Collection of Notations. Austin: University of Texas Press Simms. Owen 1978 The Modal System of Arab and Persian Music. Sherifa 2000. Wright.
Abraham Zvi Idelsohn. Abd al-Halim Hafiz. How might one understand the significance of popular social dance in the Middle East (or. etc. What kind of recording projects were these? To what extent did they relate to broader projects? What survives (and circulates) today. What have their effects been? What have their politics been? How does one evaluate their success or failure? . Watch some films carefully – no less than two. Your job is to consider either Abbasid or Ottoman musical developments in their broader. Write an essay on one of the early western historians and ethnographers of Middle Eastern music. and how does that relate to the broader project? Are their ideas still alive? What can we learn from them today? 4. amongst Middle Eastern communities here in the UK?) How does it shape musical practice. 1600-1700. global music history and theory? 5) Consider efforts to ‘reform’ Middle Eastern musical practice under the general rubric of ‘modernity’. a consultant on a new encyclopedia project. global music historical context – as.FHS 2009 LIST C OPTION Some sample tutorial essay questions: 1. with particular reference to their recordings: Bela Bartok. Consider the film oevre of one of Umm Kulthum. and vice versa? What ends does it serve? How is changing? What are its politics? 2. Muhammed Abd al-Wahhab. Benjamin Gilman (the recordings made at the Chicago Columbian Exposition of 1893). let’s say. the recordings made at the Cairo Congress in 1932. Robert Lachmann. What dramatic ends does the music serve? How do the plots serve as vehicles for the musicians? How does it make a difference watching these films knowing something about Arab or Turkish music? What does it mean to listen to a film? What did these films mean in their particular historical moments? Why do you think people are nostalgic about them? 3. Zeki Muren. How do we start thinking these periods as part of a more inclusive. Orhan Gencebay. Consider the periods. 1000-1300 or c.
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