Music Books

Book SynopsisIn Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience — among both theatregoers and readers of drama — contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call ‘public sphere(s)’? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the ‘public’ existed in a variety of forms, locations, and cultures across early modern Europe — and in Asia.Table of ContentsAcknowledgments Contributor biographies Introduction 1. Sven Thorsten Kilian, ‘Opening Spaces for the Reading Audience: Fernando de Rojas’s Celestina (1499/1502) and Niccolò Machiavelli’s Mandragola (1518)’ 2. Katja Gvozdeva, ‘Why Do Men Go Blind in the Theatre? Gender Riddles and Fools’ Play in the Italian Renaissance Comedy Gl’Ingannati (1532)’ 3. Déborah Blocker, ‘The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600)’ 4. Wendy Heller, ‘Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court’ 5. Tatiana Korneeva, ‘Entertainment for Melancholics: The Public and the Public Stage in Carlo Gozzi’s L’Amore delle tre melarance’ 6. Logan J. Connors, ‘Pierre Nicole, Jean-Baptiste Dubos, and the Psychological Experience of Theatrical Performance in Early Modern France’ 7. Kirill Ospovat, ‘The Catharsis of Prosecution: Royal Violence, Poetic Justice, and Public Emotion in the Russian Hamlet (1748)’ 8. Nigel Smith, ‘The Politics of Tragedy in the Dutch Republic: Joachim Oudaen’s Martyr Drama in Context’ 9. Hans Rudolf Velten, ‘Devils On and Off Stage: Shifting Effects of Fear and Laughter in Late Medieval and Early Modern German Urban Theatre’ 10. Toni Bernhart, ‘Imagining the Audience in Eighteenth-Century Folk Theatre in Tyrol’ 11. Stanca Scholz-Cionca, ‘Nô within Walls and Beyond: Theatre as Cultural Capital in Edo Japan (1603–1868)’ List of illustrations List of tables Index

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Book SynopsisGeneviève Straus: a Parisian Life is the first biography in English of Geneviève Straus (1849-1926), a Parisian salon hostess and political activist. Joyce Block Lazarus explores myths surrounding Straus and offers an account of her life and accomplishments. Making use of historical materials, including previously unpublished letters, Lazarus shows that Straus was a female intellectual during an era when women were non-citizens. Scholars have well documented the Dreyfus Affair (1894-1906), but have overlooked archival documents which spotlight Straus’s role as a political activist in the affair. In Geneviève Straus: a Parisian Life, Lazarus highlights Straus’s thirty-four-year friendship with Marcel Proust and examines her influence on Proust’s novel, In Search of Lost Time, finding echoes of Straus and her family in his masterpiece.Trade Review"Joyce Block Lazarus pose l’hypothèse que, contre l’idée que les salons étaient un lieu de pouvoir pour les hommes et non pour les femmes, celui de Straus, tout du moins, permit à celle-ci d’exercer un pouvoir réel sur des générations d’intellectuels." - Pauline Moret-Jankus, French Studies, 72.4, Oct. 2018.Table of ContentsAcknowledgments List of Illustrations Introduction Part 1 1 “He Who Laughs on Friday . . .” 2 Under Siege 3 Belated Glory Part 2 4 134, Boulevard Haussmann 5 “Death to the Traitor!” 6 Tea and a Madeleine Illustrations Part 3 7 The End of a World 8 Endings and Beginnings Conclusion Bibliography Index

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Book SynopsisEmpire of the Senses brings together pathbreaking scholarship on the role the five senses played in early America. With perspectives from across the hemisphere, exploring individual senses and multi-sensory frameworks, the volume explores how sensory perception helped frame cultural encounters, colonial knowledge, and political relationships. From early French interpretations of intercultural touch, to English plans to restructure the scent of Jamaica, these essays elucidate different ways the expansion of rival European empires across the Americas involved a vast interconnected range of sensory experiences and practices. Empire of the Senses offers a new comparative perspective on the way European imperialism was constructed, operated, implemented and, sometimes, counteracted by rich and complex new sensory frameworks in the diverse contexts of early America. This book has been listed on the Books of Note section on the website of Sensory Studies, which is dedicated to highlighting the top books in sensory studies: www.sensorystudies.org/books-of-noteTrade Review“This volume edited by Hacke and Musselwhite presents substantial, thought-provoking research in the blooming field of sensory history of the Americas, allowing for a deeper understanding of early modern European association of specific sensory regimes with imperial authority.” Paola von Wyss-Giacosa, University of Zurich. In: Emotions, Vol. 2, No. 2 (2018), pp. 347-349.Table of ContentsList of Illustrations Notes on Contributors Introduction: Making Sense of Colonial Encounters and New Worlds  Daniela Hacke and Paul Musselwhite Part 1: Cultural Encounters 1 Touching on Communication: Visual and Textual Representations of Touch as Friendship in Early Colonial Encounters  Céline Carayon 2 Mission Soundscapes: Demons, Jesuits, and Sounds in Antonio Ruiz de Montoya’s Conquista Espiritual (1639)  Jutta Toelle 3 Singing with Strangers in Early Seventeenth-century New France  Michaela Ann Cameron Part 2: Colonial Subjectivity 4 The Pain of Senses Escaping: Eighteenth-century Europeans and the Sensory Challenges of the Caribbean  Annika Raapke 5 Color Visions: Perceiving Nature in the Portuguese Atlantic World  Marília dos Santos Lopes Part 3: Structures of Knowledge 6 Colonial Sensescapes: Thomas Harriot and the Production of Knowledge  Daniela Hacke 7 Merian and the Pineapple: Visual Representation of the Senses  Megan Baumhammer and Claire Kennedy 8 “Delightful a Fragrance”: Native American Olfactory Aesthetics Within the Eighteenth-century Anglo-American Botanical Community  Andrew Kettler Part 4: Colonial Projects 9 The Aromas of Flora’s Wide Domains: Cultivating Gardens, Aromas, and Political Subjects in the Late Seventeenth-century English Atlantic  Kate Mulry 10 Exploring Underwater Worlds: Diving in the Late Seventeenth-/Early Eighteenth-century British Empire  Rebekka von Mallinckrodt Index

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Book SynopsisThis volume sets out to explore the world of domestic devotions and is premised on the assumption that the home was a central space of religious practice and experience throughout the early modern world. The contributions to this book, which deal with themes dating from the fifteenth to the eighteenth century, tell of the intimate relationship between humans and the sacred within the walls of the home. The volume demonstrates that the home cannot be studied in isolation: the sixteen essays, that encompass religious history, the histories of art and architecture, material culture, literary history, and social and cultural history, instead point individually and collectively to the porosity of the home and its connectedness with other institutions and broader communities. Contributors: Dotan Arad, Kathleen Ashley, Martin Christ, Hildegard Diemberger, Marco Faini, Suzanna Ivanič, Debra Kaplan, Marion H. Katz, Soyeon Kim, Hester Lees-Jeffries, Borja Franco Llopis, Alessia Meneghin, Francisco J. Moreno Díaz del Campo, Cristina Osswald, Kathleen M. Ryor, Igor Sosa Mayor, Hanneke van Asperen, Torsten Wollina, and Jungyoon Yang.Trade Review“Domestic Devotions in the Early Modern World offers an array of impressive research that will prove enriching to all scholars of early modern history.” Gary Gibbs, Roanoke College. In: Renaissance Quarterly, Vol. 74, No. 3 (Fall 2021), pp. 1023–1025.Table of ContentsAcknowledgments Figures and Tables Notes on the Editors Notes on the Contributors Introduction  Marco Faini and Alessia Meneghin Part 1: Complicating the Sacred Space: Private and Public 1 The Brazilian House in the Eighteenth Century: Devotion at Home  Cristina Osswald 2 When the Home Becomes a Shrine: Public Prayers in Private Houses among the Ottoman Jews  Dotan Arad Part 2: Confessional Confrontation 3 Psalm-Singing at Home: The Case of Etienne Mathieu, a Burgundian Protestant  Kathleen Ashley 4 Between Domestic and Public: Johann Leisentrit’s (1527–1586) Instructions for the Sick and Dying of Upper Lusatia  Martin Christ 5 The Moriscos’ Artistic Domestic Devotions Viewed through Christian Eyes in Early Modern Iberia  Borja Franco Llopis and Francisco Javier Moreno Díaz del Campo 6 The Unwritten Ritual: The Duality of Religion in Sixteenth-Century Chosŏn Korea  Soyeon Kim Part 3: Family Life 7 Between Home and Sufi Convent: Devotional Book Use in Early Modern Damascus  Torsten Wollina 8 Commemoration of the Prophet’s Birthday as a Domestic Ritual in Fifteenth- and Sixteenth-Century Damascus  Marion H. Katz 9 Prayers at the Nuptial Bed: Spiritual Guidance on Consummation in Seventeenth-Century Dutch Epithalamia  Jungyoon Yang Part 4: The Materiality of Devotion 10 Amulets and the Material Interface of Beliefs in Seventeenth-Century Prague Burgher Homes  Suzanna Ivanič 11 Experimenting with Relics: Laypeople, Knowledge and Relics in Seventeenth-Century Spain  Igor Sosa Mayor 12 Style as Substance: Literary Ink Painting and Buddhist Practice in Late Ming Dynasty China  Kathleen M. Ryor Part 5: Prayer and Meditation 13 ‘Thou Hast Made this Bed Thine Altar’: John Donne’s Sheets  Hester Lees-Jeffries 14 The Book as Shrine, the Badge as Bookmark: Religious Badges and Pilgrims’ Souvenirs in Devotional Manuscripts  Hanneke van Asperen Part 6: Gendering Devotion 15 Living Spaces, Communal Places: Early Modern Jewish Homes and Religious Devotions  Debra Kaplan 16 Birth, Death and Reincarnation in the Life of a Fifteenth-Century Tibetan Princess  Hildegard Diemberger Index Nominum

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Book SynopsisDomestic Devotions in Early Modern Italy illuminates the vibrancy of spiritual beliefs and practices which profoundly shaped family life in this era. Scholarship on Catholicism has tended to focus on institutions, but the home was the site of religious instruction and reading, prayer and meditation, communal worship, multi-sensory devotions, contemplation of religious images and the performance of rituals, as well as extraordinary events such as miracles. Drawing on a wide range of sources, this volume affirms the central place of the household to spiritual life and reveals the myriad ways in which devotion met domestic needs. The seventeen essays encompass religious history, the histories of art and architecture, material culture, musicology, literary history, and social and cultural history. Contributors are Erminia Ardissino, Michele Bacci, Michael J. Brody, Giorgio Caravale, Maya Corry, Remi Chiu, Sabrina Corbellini, Stefano Dall’Aglio, Marco Faini, Iain Fenlon, Irene Galandra Cooper, Jane Garnett, Joanna Kostylo, Alessia Meneghin, Margaret A. Morse, Elisa Novi Chavarria, Gervase Rosser, Zuzanna Sarnecka, Katherine Tycz, and Valeria Viola.Trade Review“This volume makes a substantial contribution to the redefinition of religious identities in early modern Italy […] The volume excels at challenging the enduring notion of an evenly shared Catholic religiosity, administered and regulated rigorously through institutions. The early modern household, so well presented here, reveals itself to be a complex network of devotions and cults, mixing vivid images and icons with pouches of seeds, holy scrolls, herbs, rosaries, and, most importantly, ideas.” Marco Piana, Smith College, Northampton, Massachusetts in Renaissance and Reformation 42.3Table of ContentsAcknowledgments List of Illustrations Notes on the Editors Notes on the Contributors Introduction  Maya Corry, Marco Faini and Alessia Meneghin Part 1: The Unbounded Nature of Domestic Space 1 Singing on the Street and in the Home in Times of Pestilence: Lessons from the 1576–78 Plague of Milan  Remi Chiu 2 The Ex Voto between Domestic and Public Space: From Personal Testimony to Collective Memory  Jane Garnett and Gervase Rosser 3 Spaces for Domestic Devotion in the Noble Residences of Palermo in the Age of Catholic Reform  Valeria Viola 4 Music and Domestic Devotion in the Age of Reform  Iain Fenlon Part 2: Domesticating the Divine 5 Domestic Portraiture in Early Modern Venice: Devotion to Family and Faith  Margaret A. Morse 6 Domestic Religion and Connected Spaces: Isabella della Rovere, Princess of Bisignano (1552–1619)  Elisa Novi Chavarria 7 “And the Word Dwelt amongst Us”: Experiencing the Nativity in the Italian Renaissance Home  Zuzanna Sarnecka Part 3: The Materiality of Devotion 8 Religious Subjects on Sixteenth-Century Deruta Piatti da Pompa  Michael J. Brody 9 Investigating the ‘Case’ of the Agnus Dei in Sixteenth-Century Italian Homes  Irene Galandra Cooper 10 Material Prayers and Maternity in Early Modern Italy: Signed, Sealed, Delivered  Katherine M. Tycz 11 Devotional Panels as Sites of Intercultural Exchange  Michele Bacci Part 4: Prayer and Meditation 12 Creating Domestic Sacred Space: Religious Reading in Late Medieval and Early Modern Italy  Sabrina Corbellini 13 Delight in Painted Companions: Shaping the Soul from Birth in Early Modern Italy  Maya Corry 14 Literary and Visual Forms of a Domestic Devotion: The Rosary in Renaissance Italy  Erminia Ardissino Part 5: Conflict and Control 15 Domestic Prayers and Miracles in Renaissance Italy: The Case of Savonarola and His Cult  Stefano Dall’Aglio 16 Private and Public Devotion in Late Renaissance Italy: The Role of Church Censorship  Giorgio Caravale 17 Contested Devotions: Space, Identities and Religious Dissent in the Apothecary’s Home  Joanna Kostylo Index Nominum

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Book SynopsisHow did Catholicism sound in the early modern period? What kinds of sonic cultures developed within the diverse and dynamic matrix of early modern Catholicism? And what do we learn about early modern Catholicism by attending to its sonic manifestations? Editors Daniele V. Filippi and Michael Noone have brought together a variety of studies — ranging from processional culture in Bavaria to Roman confraternities, and catechetical praxis in popular missions — that share an emphasis on the many and varied modalities and meanings of sonic experience in early modern Catholic life. Audio samples illustrating selected chapters are available at the following address: https://doi.org/10.6084/m9.figshare.5311099. Contributors are: Egberto Bermúdez, Jane A. Bernstein, Xavier Bisaro, Andrew Cichy, Daniele V. Filippi, Alexander J. Fisher, Marco Gozzi, Robert L. Kendrick, Tess Knighton, Ignazio Macchiarella, Margaret Murata, John W. O’Malley, S.J., Noel O’Regan, Anne Piéjus, and Colleen Reardon.Trade Review“Listening to Early Modern Catholicism is an absorbing collection that, among other things, patiently undermines the cliché. The case studies and topical overviews show a remarkable degree of diversity, adaptability, and autonomy [...] This volume does fine service in naming a lacuna in early modern studies, making a substantial contribution to filling it, all the while encouraging dialogue among a variety of scholarly disciplines, and gathering essential resources.” Michael O'Connor, St. Michael’s College, University of Toronto, in Renaissance and Reformation / Renaissance et Réforme, Vol. 41 No 2 (2018), pp. 179–181. “an extremely rich and rewarding collection of essays that takes seriously new musicological concepts and methods.” Jutta Toelle, Max Planck Institute for Empirical Aesthetics. In: Journal of Jesuit Studies, Vol. 5, No. 3 (March 2018), pp. 457–458. “the collection makes a strong case for music as a neglected element in the study of early modern Catholicism and demonstrates that it performed a wide variety of roles. It is an excellent introduction to the field.” Jane Stevenson, University of Oxford. In: British Catholic History, Vol. 34 No. 2 (2018), pp. 353–355. “This book is a wonderful addition to the interdisciplinary exploration of soundscape study.” Bradford Lee Eden, Valparaiso, IN. In: Sixteenth Century Journal, Vol. 50, No. 2 (Summer 2019), pp. 550–552.Table of ContentsNotes on the Editors Notes on the Contributors List of Figures and Examples Editors’ Note Introduction  Daniele V. Filippi and Michael Noone Part 1: The State of Research 1 Early Modern Catholicism: The State of Research  John W. O’Malley 2 Music Among the Disciplines in Early Modern Catholicism  Robert L. Kendrick Part 2: Perspectives 3 Liturgical Music and Liturgical Experience in Early Modern Italy  Marco Gozzi 4 Musical Dispatches from the Heavenly Jerusalem  Colleen Reardon 5 Singing the Community: Plainchant in Early Modern ‘petites écoles’  Xavier Bisaro 6 Print Culture, Music, and Early Modern Catholicism in Rome  Jane A. Bernstein 7 ‘Catechismum modulans docebat’: Teaching the Doctrine Through Singing in Early Modern Catholicism  Daniele V. Filippi 8 Artistic Revival and Conquest of the Soul in Early Modern Rome  Anne Piéjus 9 ‘Changing their tune’: Sacred Music and the Recasting of English Post-Reformation Identity at St. Alban’s College, Valladolid  Andrew Cichy 10 ‘Mit singen und klingen’: Urban Processional Culture and the Soundscapes of Post-Reformation Germany  Alexander J. Fisher 11 ‘Colpe mie venite a piangere’: The Penitential Cantata in Baroque Rome  Margaret Murata 12 Music for the Soul: Death and Piety in Sixteenth-Century Barcelona  Tess Knighton 13 ‘Per cagion della musica tutte le strade erano piene’: Roles Played by Music in Articulating the Place of Confraternities in Early Modern Roman Society  Noel O’Regan 14 Confraternity Multipart Singing: Contemporary Practice and Hypothetical Scenarios for the Early Modern Era  Ignazio Macchiarella 15 Sounds from Fortresses of Faith and Ideal Cities: Society, Politics, and Music in Missionary Activities in the Americas, 1525–1575  Egberto Bermúdez Index Nominum

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Book SynopsisFootprints of the Dance — An Early Seventeenth-Century Dance Master’s Notebook by Jennifer Nevile provides new, fascinating and detailed information on the life of an early-seventeenth-century dance master in Brussels. The dance master’s handwritten notebook contains unique material: a canon of dance figures and instructions for an exhibition with a pike; as well as signatures and general descriptions of his students, ballet plots and music associated with dancing. Reproduced for the first time are facsimile images of all the dance-related material, with transcriptions and translations of the ballet plots and instructions for the pike exhibition. The dance master is revealed as an active choreographer and performer, with strong ties to the French court musical establishment, and interested in fireworks and alchemy.Trade Review"The book's greatest value lies in making the notebook’s rare resources available to scholars of early modern dance and to historians of staged spectacles. The translation into English of the ballet plots and of the pike exhibition (in this latter case undertaken by Margaret McGowan) will also allow undergraduate students interested in the themes covered by the book to have access to valuable new primary material." Carolyn James, Monash University, in Parergon 38.1 “Theatrical entertainments loomed large in the early modern period, literally and figuratively. In addition to illuminating the inner workings of a dance school, Jennifer Nevile’s Footprints of the Dance takes us several steps closer to understanding Renaissance spectacles and increasing our knowledge and appreciation of those who designed and developed them.” Emily F. Winerock, University of Pittsburgh. In: Renaissance Quarterly, Vol. 72, No. 4 (Winter 2019), pp. 1535–1536 “In her newest book, musicologist and dance historian Jennifer Neville has made a substantial contribution to our knowledge of early seventeenth-century dance and its social and political importance in the towns and cities of Western Europe. […] Neville’s opening his notebook to us is a gift to dance research.” Judith Rock, in: Journal of Jesuit Studies, Vol. 6, No. 1 (March 2019), pp. 183–186. “Footprints of the Dance is a valuable addition to dance studies, extending our understanding of the professional life of a dancing master, the choreographic activities of the time and the interaction of dance with other cultural elements such as pyrotechnics, health and travel. The analysis and contextualisation draw on extensive understanding of early modern dance and the culture of Brussels. Through it, readers will derive an excellent understanding of this special manuscript.” Anne Daye, in: Historical Dance, Vol. 4 ,No. 4 (January 2021).Table of ContentsAcknowledgements List of Tables, Illustrations and Musical Examples A Note on Transcriptions and Translations Introduction 1 A Dance Master’s Notebook 2 Dance in Early Modern Europe 3 Ballet Plots, Dance Figures and Fireworks 4 Dance Teaching, Schools and Pupils 5 Danced Combat and the Pike Exhibition 6 Dance Music, Dance Songs and Airs de Cour Conclusion Facsimile of Dance-Related Material from S 253 Appendix 1: Transcription and Translation of the Six Ballet Plots Appendix 2: The Pike Exhibition (ff. 94r–99v) Bibliography Index

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Book SynopsisThis volume contains annotated translations of anecdotes, on musicological and socio-cultural topics, from al-Iṣbahānī’s The Grand Book of Songs. Includes music theory and treatises; instruments; composition techniques; education and transmission; vocal and instrumental performances; solo and ensemble music; improvisations; emotions; dances; social status.Trade Review“Unquestionably, this is a volume covering a vast area: literature, history, biography, social comment, and of course information about music and its development. Sawa’s volume is a splendid work for the completion of which a combination of patience and erudition was obviously among its prerequisites, - the result being one of those tomes indispensable for students of Music, Ethnomusicology, and Sociology of Art.” Stavros Nikolaidis in:Journal of Oriental and African Studies, Volume 29 (2020).Table of ContentsPreface Acknowledgments Abbreviations Editorial Notes Introduction: Abū l-Faraj al-Iṣfahānī and His Book of Songs 1 Theory  The Modes  A The Eight Rhythmic Modes  B The Eight Melodic Modes  C The Three Passages on Rhythmic and Melodic Modes in the Book of Songs  D Jins and Ṭarīqa  E Rare Songs Containing Eight or Ten Notes  F Early Singing: Ḥudāʾ, Naṣb, and Rukbān  G Technical Terms  H Theoretical Treatises, Anecdotes, Biographies, Song Collections, Authorship, Modes 2 Instruments  A Aerophones: Mizmār, Nāy, and Surnāy  B Idiophones: ʿAṣāt, Dawāt, Jaras, Juljul, Khashaba, Miqraʿa, Nāqūs, Qaḍīb, Qarbūs, Raḥl, Ṣaffāqa, Ṣanj  C Membranophones: ʿArṭaba, Duff, Murabbaʿ, Ṭabl  D Chordophones: Barbaṭ, Kankala, Miʿzafa, Mizhar, Ṣanj, Ṭunbūr, ʿūd  E Storage and Workshop for Instrument Making  F Improvised Instruments 3 Composition  A The Use of Music to Embellish and Spread Poetry  B The Origins of Arabic Music  C Technique and Process of Composition  D Dreams and Jinns as Sources for Compositions  E Contrafacta  F Style and the Imitation of Style  G Composition: Talent Versus Intellect, Head Versus Heart  H Specialization  I Analysis  J Authorship  K Poems, Composers, and Modes  L The Number of Lines of Poems Set to Music  M Choosing and Altering the Order of the Verses and Mixing Poems  N Names of Melodies  O Output  P Quality Versus Quantity  Q Poems Conducive to Be Set to Music  R The Best Composers and Compositions  S Comparisons  T Weak Compositions  U Women’s Compositions and Softness  V Folklore Songs: Sailors, Masons, and Water Carriers  W Monopolies on Poems 4 Education and Transmission  A General Education  B Pedigree  C Music Education  D The Important Role of Women as Teachers, Transmitters, and Memorizers  E Memory Loss  F Learning and Repetitions, Slow Learners and Fast Learners  G Problems of Difficulty and Transmission  H Prevention of Transmission and Stinginess  I Good and Bad Transmitters  J Unconventional Transmissions  K Miscellaneous 5 Performance  A Singers and Songstresses  B To Sing: Qāla, Qaraʾa, Ḥaddatha  C Voice Production  D Beautiful Voice  E Powerful Voice  F Poor Voices  G Stratagem for Poor Voices  H Excellence in Performance  I Poor Performance and Weaknesses  J Postures  K Difficult Songs  L Comparisons  M The Limitations of Descriptions  O Size of Repertoire  P Lute Playing in the Persian Style  Q Lute Virtuosity  R Inheriting a Family Business  S Performance Order  T The Composition of the Majlis and Its Effect on Performance  U Songs without Words 6 Solos, Accompaniment, and Ensemble Music  A Murtajil: A Cappella  B Instrumental Solos  C Unaccompanied Duet Singing  D Unison Ensemble Singing  E Unison Ensemble Singing with Lute Accompaniment  F A Soloist and Her Chorus  G Hand Clapping, Castanets, and Dancing  H Tambourines  I Ṭabl  J Lute  K Ṭunbūr  L Voice and Nāy  M Murtajil and Irtijāl 7 Musical Stability and Change  A On the Inevitability of Change  B Change Is Permissible  C Change Is Frowned Upon  D Wine and Its Positive and Negative Effects on Singing  E The Truth about the Singer Mālik Not Composing but Altering and Beautifying the Songs of Others  F Change as a Tool to Embarrass an Enemy 8 Musical and Textual Improvisations 9 Ṭarab and the Effects of Singing on People and Animals  A Preliminary Definitions  B Physical Effects on People and Animals  C Emotional Effects  D Effects on the Imagination  E Therapeutic Effects  F Ṭarab and Effects of Music: Miscellaneous Topics 10 Dance  A Zafn and Raqṣ  B Early Arabic Music and Dance According to Ibn Khaldūn  C Dastband and Īlāʾ  D Kurraj  E Raqṣ and the Completion of Musical Arts  F The Required Qualities of Dancers According to the Oration of an Anonymous Singer/Boon Companion of the Caliph Al-Muʿtamid, as Reported in the Meadows of Gold of Al-Masʿūdī 11 Physiognomy, Attire, Character, Social Status, and Permissibility of Music  A The Importance of a Beautiful Face, Body, and Attire  B Character and Knowledge  C Slaves, Freed Slaves, Mawlās, and Freeman  D Is It a Sin to Sing?  E It Is Not a Sin to Sing If the Singer Is Pious and Endowed with Good Character, or If the Songs Are Not Erotic  F The Contradictory and Ambiguous Roles of Noblemen, Theologians, and Administrators Toward Music and Musicians  G The Shame of Being an Instrumentalist  H Words of Wisdom in Support of Music Arabic English Glossary Bibliography Index of People and Places Index of Terms and Subjects Charts

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Book SynopsisDisplacement, relocation, dissociation: each of these terms elicits images of mass migration, homelessness, statelessness, or outsiderness of many kinds, too numerous to name. This book aims to create opportunities for scholars, practitioners, and silenced voices to share theories and stories of progressive and transgressive music pedagogies that challenge the ways music educators and learners think about and practice their arts relative to displacement. Displacement is defined as encompassing all those who have been forced away from their locations by political, social, economic, climate, and resource change, injustice, and insecurity. This includes: - refugees and internally displaced persons; - forced migrants; - indigenous communities who have been forced off their traditional lands; - people who have fled homes because of their gender identity and sexual orientation; - imprisoned individuals; - persons who seek refuge for reasons of domestic and social violence; - homeless persons and others who live in transient spaces; - the disabled, who are relocated involuntarily; and - the culturally dispossessed, whose languages and heritage have been taken away from them. In the context of the first ever book on displacement and music education, the authors connect displacement to what music might become to those peoples who find themselves between spaces, parted from the familiar and the familial. Through, in, and because of a variety of musical participations, they contend that displaced peoples might find comfort, inclusion, and welcome of some kinds either in making new music or remembering and reconfiguring past musical experiences. Contributors are: #4459, Efi Averof Michailidou, Kat Bawden, Rachel Beckles Willson, Marie Bejstam, Rhoda Bernard, Michele Cantoni, Mary L. Cohen, Wayland “X” Coleman, Samantha Dieckmann, Irene (Peace) Ebhohon, Con Fullam, Erin Guinup, Micah Hendler, Hala Jaber, Shaylene Johnson, Arsène Kapikian, Tou SaiKo Lee, Sarah Mandie, David Nnadi, Marcia Ostashewski, Ulrike Präger, Q, Kate Richards Geller, Charlotte Rider, Matt Sakakeeny, Tim Seelig, Katherine Seybert, Brian Sullivan, Mathilde Vittu, Derrick Washington, Henriette Weber, Mai Yang Xiong, Keng Chris Yang, and Nelli Yurina.

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Book SynopsisIn Höfische Musikkultur im klassischen Islam wirft Yasemin Gökpinar einen frischen Blick auf die Sängersklavinnen und ihr Liedrepertoire inmitten der Ambiguitäten des Hoflebens von den Abbasiden bis zu den Mamluken. In the present volume Yasemin Gökpinar offers new perspectives on singing slave girls and their song repertoires, in the midst of the ambiguities of court life, from the Abbasids to the Mamluks.Table of ContentsVorwort Melodien der arabischen Kalligraphie Abkürzungen 1 Einleitung 2 Autor und Werk  2.1 Ibn Faḍlallāh al-ʿUmarī und sein Umfeld  2.2 Werke  2.3 Masālik al-abṣār fī mamālik al-amṣār 3 Form und Genre  3.1 Das Liederbuch als Sammlung von Musikerbiographien  3.2 Betrachtungen zum Liederbuch als historische Quelle 4 Musikerbiographien im 10. Band der Masālik al-abṣār fī mamālik al-amṣār  4.1 Exemplarische Portraits der Musiker und Musikerinnen  4.2 Textanalyse Fazit Anhang: Übersicht: Dichter, Lieder, Metren Literaturverzeichnis Personenindex Sachindex

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Book SynopsisMusic of the Baduy People of Western Java: Singing is a Medicine by Wim van Zanten is about music and dance of the indigenous group of the Baduy, consisting of about twelve-thousand people living in western Java. It covers music for rice rituals, for circumcisions and weddings, and music for entertainment. The book includes many photographs and several discussed audio-visual examples that can be found on DOI: 10.6084/m9.figshare.c.5170520. Baduy are suppposed to live a simple, ascetic life. However, there is a shortage of agricultural land and there are many temptations from the changing world around them. Little has been published on Baduy music and dance. Wim van Zanten’s book seeks to fill this lacuna and is based on short periods of fieldwork from 1976 to 2016.Table of ContentsPreface Orthography List of Illustrations Audio-Visual Examples (AV) and Music Transcriptions (Tr) 1 Introduction 1.1 The Baduy People of Kanékés Village and Their Music and Dance  1.1.1 The Name of the Indigenous Group 1.2 Overview of Baduy Music and Dance 1.3 Outline of the Book 2 Social Organization and Economic Situation 2.1 Socio-Political Organization and Major Spiritual and Secular Officials 2.2 Dangka Hamlets and Their Role in the Delineation of Baduy Culture 2.3 Agricultural Land, Non-Irrigated Fields and Religion 2.4 Relations with Indonesian Authorities and Cultural Tourism 2.4.1 Hand Phones 2.4.2 Séba 2.5 Non-Governmental Organisations: Trust, Social Justice and Environment 2.6 Weaving, Clothes and Production of Textiles for Sale 2.7 Production of Other Goods 2.7.1 Palm Sugar (gula kawung) 2.7.2 Knives 3 Methodological Issues and Theoretical Starting Points 3.1 Historical Sources and Earlier Publications on Music and Dance 3.2 Restrictions for Researchers and Other Methodological Issues 3.3 Visits to the Holy Places in Kanékés between 1822 and 1931 3.3.1 Blume (1822) 3.3.2 Van Hoëvell (1845) 3.3.3 Koorders (1864) 3.3.4 Criticism by Jacobs and Meijer (1891) and Pennings (1902) 3.3.5 Koolhoven (1931) 3.3.6 Van Tricht (1928) 3.4 Fieldwork Periods Present Author 3.5 Some Theoretical Issues and Definitions 4 Seasons for Music and Major Rituals 4.1 Agricultural Calendar and Musical Seasons 4.2 Angklung Music for the Engagement Ritual of the Goddess of Rice 4.3 Circumcisions and Weddings 4.4 Circumcision in Kadujangkung 4.5 Circumcision in Cicakal Leuwi Buleud 4.6 Weddings and Other Rituals; Some General Observations 5 Tone Systems, angklung, keromong, Dancing and Gender Aspects 5.1 General Musical Concepts: Tone Systems, Modes and Styles of Playing  5.1.1 Transcription of Music for Analysis  5.1.2 Tone Systems 5.2 Angklung for Rituals and for Entertainment 5.3 Keromong (gamelan) 5.4 The History of a Baduy Gamelan between 1976 and 2019 5.4.1 Commentary 5.5 Dancing 5.6 Gender Aspects and Gendék Ceremonial Pounding of Rice 5.6.1 Musicians and Gender 5.6.2 Gendék 6 Carita Pantun Storytelling 6.1 Baduy Oral Literature in the Larger Sundanese Context 6.2 Baduy Pantun Stories 6.3 Pantun Texts and Audio-Visual Recordings since 1905 6.4 Own Recordings and Observations of pantun Storytellers  6.4.1 Direction that the Pantun Performer Should Be Facing 6.5 Recited Text and Performing Aspects of pantun Recitation 7 Song Texts in Music for Entertainment 7.1 Earlier Publications of Song Texts 7.2 Formal Aspects of the Song Texts 7.3 Song Texts Used in Performance by Female Singer Raidah in 2003  7.3.1 Kidung Rahayu  7.3.2 Tepang Sono  7.3.3 Daun Hiris  7.3.4 Jalan  7.3.5 Gunjaér Mundur  7.3.6 Kacang Asin  7.3.7 Bayu-Bayu  7.3.8 Poho Kabalik  7.3.9 Kapergok  7.3.10 Daun Puspa  7.3.11 Ucing-Ucingan 7.4 Major Themes in Other Song Texts  7.4.1 Moral Advice  7.4.2 Hurt by Outsiders  7.4.3 Dirty Words  7.4.4 References to Music and Dance  7.4.5 False Instruments and Social Order 8 Wind, String and Other Instruments 8.1 Kumbang Flute 8.2 Tarawélét Flute 8.3 Lamus Flute and Elét 8.3.1 Elét 8.4 String Instruments 8.4.1 Kacapi Pantun 8.4.2 Siter and Falsetto Voice 8.4.3 Rendo 8.4.4 Viol 8.4.5 Rebab 8.5 Xylophones and Jew’s Harp 8.5.1 Gambang or Gambang Kayu 8.5.2 Calung 8.5.3 Karinding Concluding Remarks 9.1 Negotiating Rules and Mutual Respect  9.1.1 The 2003 unesco Convention on Living Culture 9.2 Safeguarding, Cultural Tourism and Future Research Appendix 1 A Map of Kanékés and a List of Its Hamlets Appendix 2 The Baduy Calendar Appendix 3 List of People Interviewed and/or Recorded Appendix 4 Song Texts for Entertainment Glossary References Index

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Book SynopsisDisplacement, relocation, dissociation: each of these terms elicits images of mass migration, homelessness, statelessness, or outsiderness of many kinds, too numerous to name. This book aims to create opportunities for scholars, practitioners, and silenced voices to share theories and stories of progressive and transgressive music pedagogies that challenge the ways music educators and learners think about and practice their arts relative to displacement. Displacement is defined as encompassing all those who have been forced away from their locations by political, social, economic, climate, and resource change, injustice, and insecurity. This includes: - refugees and internally displaced persons; - forced migrants; - indigenous communities who have been forced off their traditional lands; - people who have fled homes because of their gender identity and sexual orientation; - imprisoned individuals; - persons who seek refuge for reasons of domestic and social violence; - homeless persons and others who live in transient spaces; - the disabled, who are relocated involuntarily; and - the culturally dispossessed, whose languages and heritage have been taken away from them. In the context of the first ever book on displacement and music education, the authors connect displacement to what music might become to those peoples who find themselves between spaces, parted from the familiar and the familial. Through, in, and because of a variety of musical participations, they contend that displaced peoples might find comfort, inclusion, and welcome of some kinds either in making new music or remembering and reconfiguring past musical experiences. Contributors are: #4459, Efi Averof Michailidou, Kat Bawden, Rachel Beckles Willson, Marie Bejstam, Rhoda Bernard, Michele Cantoni, Mary L. Cohen, Wayland “X” Coleman, Samantha Dieckmann, Irene (Peace) Ebhohon, Con Fullam, Erin Guinup, Micah Hendler, Hala Jaber, Shaylene Johnson, Arsène Kapikian, Tou SaiKo Lee, Sarah Mandie, David Nnadi, Marcia Ostashewski, Ulrike Präger, Q, Kate Richards Geller, Charlotte Rider, Matt Sakakeeny, Tim Seelig, Katherine Seybert, Brian Sullivan, Mathilde Vittu, Derrick Washington, Henriette Weber, Mai Yang Xiong, Keng Chris Yang, and Nelli Yurina.

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Book SynopsisWhat do we mean when we talk about the identity of a musical work and what does such an identity involve? What in fact are the properties that make it something worth protecting and preserving? These issues are not only of legal relevance; they are central to a philosophical discipline that has seen considerable advances over the last few decades: musical ontology. Taking into account its main theoretical models, this essay argues that an understanding of the ontological status of musical works should acknowledge the irreducible ambivalence of music as an “art of the trace” and as a “performative art.” It advocates a theory of the musical work as a “social object” and, more specifically, as a sound artefact that functions aesthetically and which is based on a trace informed by a normative value. Such a normativity is further explored in relation to three primary ways of conceiving and fixing the trace: orality, notation and phonography.Table of ContentsThe Normativity of Musical Works: A Philosophical Inquiry  Alessandro Arbo Abstract Keywords  Introduction  1 Works and Performances  2 Musical Ontology: An Overview  3 Orality, Notation, Phonography  Conclusions  Acknowledgements  Bibliography

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Book SynopsisSituating the close relationship between Latin and music within its historical context, this volume presents an overview of Latin and music in the educational system of the time – schools, choir schools and universities – and the development and pervasive influence of musical humanism. This influence is seen primarily in the writings of music theorists, the documents of dedication found in music publications and above all in the settings of classical and Neo-Latin texts as well as in some liturgical and extra-liturgical ones. Discussion of this repertoire forms the centre of the volume. The emphasis is on practical matters: the study of Latin and music, and the music’s composition, performance and reception.Trade Review''Scholars from disciplines as diverse as music history, music theory and composition, classical reception, Renaissance and early modern history, Latin philology and literature as well as Catholic and Protestant theology (especially liturgy) will find this little volume on Latin and Music in the Early Modern Era instructive and enriching. [...] Forgács’ work constitutes a solid piece of scholarship that contributes a valuable introduction to a little-studied subject which deserves due attention in the disciplines listed at the outset.'' Andreas Kramarz BMCR 2022.02.05Table of ContentsLatin and Music in the Early Modern Era  Education, Theory, Composition, Performance and Reception Abstract Keywords  1 Introduction  2 Background: Ancient Roman, Early Christian and Medieval Music  3 Music and Latin in Early Modern Education: The Development and Pervasive Influence of Musical Humanism  4 Musical Settings of Classical Verse: Case Studies  5 Music in Neo-Latin Drama: Germany and Austria  6 Musical Settings of Liturgical and Extra-Liturgical Latin Texts and Their Context: The Mass and the Canonical Hours: Case Studies  7 Conclusion  8 Future Research  8 References  8 Index

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Book SynopsisḤāwī l-Funūn (Encompasser of the Arts) of Ibn al-Ṭaḥḥān (d. ca. 1057) is a medieval Arabic music dictionary that complements other sources because of the practical knowledge of the author who was an accomplished singer, lutenist and composer. The first part in 80 chapters deals with compositions; voice production and characteristics, unison and duet singing, taking care of the voice; preludes, ornaments, ṭarab; the importance of tonality; approaches to teaching; musical and extra-musical behavior at the court; names of Syrian Fatimid and Ishshīdid singers. The second part in 22 chapters includes lute manufacturing, frets placement, stringing and tuning; 47 rhythmic ornaments, names and definitions of rhythmic and melodic modes; types of dances; descriptions of 12 instruments.Table of ContentsPreface Acknowledgments Abbreviations Part 1: The Theoretical Arts  Introduction  Chapter 1: The Preference of Speech over Muteness  Chapter 2: The Gems of Philosophers’ Aphorisms  Chapter 3: On the Sophistication of Melodies  Chapter 4: The Meanings of Melodies  Chapter 5: Composing Melodies That Suit the Poems  Chapter 6: The Definition of Singing and Its Components  Chapter 7: The Definition of the Voice and Its Production  Chapter 8: Poetic and Musical Divisions  Chapter 9: The Origin of Arabic Singing  Chapter 10: Favoring Older Poetry over the Modern  Chapter 11: Favoring Older Singing over the Modern  Chapter 12: The Character, Effects, and Types of Melodies  Chapter 13: The Names of the First Male Singers in the Jāhiliyya  Chapter 14: The Names of the First Songstresses in the Jāhiliyya  Chapter 15: The Names of the First Male Singers in Early Islam  Chapter 16: The Names of the First Songstresses in Early Islam in addition to the Ones I Have Already Mentioned  Chapter 17: The Names of the Effeminates in Early Islam  Chapter 18: The First to Notate Songs  Chapter 19: The Grand, Medium, and Smaller Compositions  Chapter 20: Ṭarab and Its Causes  Chapter 21: The Tonalities in Singing, Their Arrangements and Types  Chapter 22: Vowels and Consonants  Chapter 23: Testing the Essences of the Voices  Chapter 24: Tricks Used to Bring Throats in Tune with the Strings  Chapter 25: The Names of Voices (ḥalq), Their Good and Bad Qualities  Chapter 26: Beautiful (mulaḥ) Vocal Music, Techniques, and Qualities  Chapter 27: Tricks Used in Stealing Songs and Precautions to Prevent This  Chapter 28: Food and Drinks That Are Beneficial to the Throats and Those That Are Not  Chapter 29: Locations That Are Beneficial for Voices and Improve Them, and Those That Diminish and Spoil Them  Chapter 30: The Ranks of Boon Companions and Singers  Chapter 31: Instruments That Overwhelm the Voices and Other Factors  Chapter 32: The Care of Throats in General, and before and after Puberty  Chapter 33: On Knowing the Reasons Musicians Get Off Rhythm  Chapter 34: Approaches to Teaching and How to Apply Them  Chapter 35: The Reasons for Poor Intonation and Its Characteristics  Chapter 36: Planning and Determining Where and How Much to Breathe  Chapter 37: Murāsala, mubāyana, and mumāthala  Chapter 38: Syncopation and Guidance to It  Chapter 39: Twittering and Its Derivation  Chapter 40: The Definition of tarkhīm  Chapter 41: Tarjīʿ and Its Characteristics  Chapter 42: Nashīds and Their Types  Chapter 43: What Stimulates the Singer To Be Active and What Makes Him Sluggish  Chapter 44: Opening Songs in the Company of Kings  Chapter 45: How to Arrange and Order the Songs in the majālis  Chapter 46: Good Qualities [to Have] While Singing  Chapter 47: Good and Bad Song Themes  Chapter 48: Who Are Better: The Singers of Persia, India, or Byzantium  Chapter 49: Mention of the Male Singers in the Umayyad Era  Chapter 50: Mention of the Songstresses in the Umayyad Era  Chapter 51: Mention of the Male Singers in the ʿAbbāsid Era  Chapter 52: Mention of the Songstresses in the ʿAbbāsid Era  Chapter 53: Mention of the Slave Singers and Songstresses in the ʿAbbāsid Era  Chapter 54: Mention of the Male Singers and Songstresses in the Ikhshīdid Era in Egypt  Chapter 55: Mention of the Male Singers in the ʿAlawid Era in Egypt  Chapter 56: Mention of the Songstresses in the ʿAlawid Era in Egypt  Chapter 57: Mention of the Male Slave Singers in the ʿAlawid Era in Egypt  Chapter 58: Mention of the Male Syrian Singers  Chapter 59: Mention of the Syrian Songstresses  Chapter 60: Mention of the Umayyad Caliphs Who Sang  Chapter 61: Mention of the ʿAbbāsid Caliphs Who Sang  Chapter 62: Mention of the ʿAbbāsid Caliphs’ Sons Who Sang  Chapter 63: Mention of the ʿAbbāsid Caliphs’ Daughters Who Sang  Chapter 64: Mention of the Viziers, Princes, and Their Sons Who Sang  Chapter 65: Mention of the Male and Female ṭunbūr Players  Chapter 66: On the Proper Behavior to Praise Men and Women When They Reach a State of ṭArab  Chapter 67: Mention of the One Hundred Chosen Songs  Chapter 68: The Permissibility of Singing  Chapter 69: The Qualities of a Skilled Singer  Chapter 70: Tools to Use to Test the Person Who Pretends to Know the Science of Music  Chapter 71: Bad Intonation among Men and Women  Chapter 72: Higher and Lower Octaves  Chapter 73: How to Choose Would-Be Singers [Girls and Boys] in Order to Teach Them Singing  Chapter 74: Behavior before Kings and Their Subjects  Chapter 75: Sayings and Poems of Praise about Male Singers and Songstresses in the Past  Chapter 76: Satirical Poems about Male Singers and Songstresses in Earlier Times  Chapter 77: Poems of Praise about Male Singers in Our Era  Chapter 78: Satirical Poems about Male Singers [and Songstresses] in Our Era  Chapter 79: The Compositional Output of Male Singers in Earlier Times  Chapter 80: Stories about Male Singers in Earlier Times and Their Pedigree Part 2: The Practical Arts  Chapter 1: The Meaning of the Word Music  Chapter 2: The Inventor of the Lute and Differing Views about It  Chapter 3: The Dimensions of the Lute, Its Material, Construction, and Names of Its Various Parts  Chapter 4: The Frets, Their Names, Placements, Tying Them on the Finger Board, and Their Functions  Chapter 5: The Strings, Their Characters, Names, Choosing Them, and Stringing Them on the Lute  Chapter 6: The Names of Rhythmic Modes (ṭarīqa), Their Types (jins), Their Cycles, and Number of Attacks  Chapter 7: The State of the Notes, Their Qualities, Quantities, Numbers, and Placements on the Strings of the Lute  Chapter 8: The Genuses of Notes Used at the Beginning of a Piece, and Types of Movements through the Frets  Chapter 9: The Rhythmic Modes in Use, [and the Player’s] Motions and Required Matters  Chapter 10: The Best Person to Have Played the Persian Lute, and the Number of Persian Modes  Chapter 11: The Best Person to Have Played the Arabic Lute and to Have Sung Arabic Songs Accompanying Himself  Chapter 12: The Description of the Lute, Its Praise, Preferring It to All Other Instruments That Accompany Singing, What It Resembles, and Poems Composed about It  Chapter 13: The Reason for Setting the zīr String at the Bottom, and the bamm at the Top  Chapter 14: Tuning and Detuning the Strings  Chapter 15: The Beautiful Techniques (mulaḥ) That Affect the Rhythms and Rhythmic Modes, Their Numbers and Types  Chapter 16: On Dance, Its Types and Names [Ibn al-Ṭaḥḥān’s Passage Quoted by al-Tīfāshī]  Chapter 17: [On the] Disagreement between [Isḥāq b.] Ibrāhīm al-Mawṣilī and Ibrāhīm b. al-Mahdī about the Rhythmic Modes  Chapter 18: The Definitions of al-surayjī, al-mākhūrī, al-mujannab, and al-mukhālif  Chapter 19: The Definitions of al-khusruwānī, al-ṭarkhānī, al-ḥumayrī, and khafīf hazaj  Chapter 20: On Choosing the Proper Instrument to Fit Various Throats  Chapter 21: Mention of the ṭunbūr, miʿzafa, rabāb, mizmār, ṭabl, urghun, qīthāra, sulyāq, duff, ṣalīkh, and kankala  Chapter 22: On Which Particular Genuses of Modes Should be Used in Which Types of Melodies; Modes Used Plainly (sādhij) without Mixing (tamzīj) and without Moving [from One to Another] are Unpleasant and Do Not Cause ṭarab  Appendix: Ibn Khurdādhbih’s Passage Quoted by al-Tīfāshī. The Number of Types of Dances, Nations, and Regions That Created Them Arabic-English Glossary Chart Bibliography Index of People and Places Index of Terms and Subjects

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Book SynopsisThis book is the first full text and translation of a prosimetric tale from the rich repertoire of Central and West Asian bards to be published with ready access to recordings of both the prose narration and the sung verse. In Iranian Khorasan, bards known as bakhshi present tales that in other regions are performed wholly in a Turkic language with prose narration in Persian, Khorasani Turkish or Kurmanji Kurdish and most verses in Turkish. We compare portions of the full performance transcribed here with excerpts from two performances of Iranian bakhshis in the 1970s. Three introductory chapters and a commentary discuss musical and verbal dimensions of the bakhshi’s art in relation to relevant social, historical, and literary contexts.Table of ContentsPreface Acknowledgments List of Figures, Maps, and Music Examples Transliteration, Transcription, and Other Editorial Policies Part 1: The Bakhshis and Their Art 1 The Multilingual Bards of Northern Khorasan  1 Peoples and Languages of Northern Khorasan  2 Storytelling in Multi-Ethnic Iran  3 The Khorasani Bakhshi  4 Contexts of Performance 2 Characters and Imagery of the Dāstān of Shāh Esmāʿil and Golzār Khānom  1 The Historical Shāh Esmāʿil II  2 Summary of the Dāstān in Rowshan’s Version  3 Attributes of the Characters  4 Women  5 Garden, Rose and Nightingale  6 Gazelles and Hunters  7 Journeys  8 Complaints  9 Threats and Maxims 3 Performance Practice of the Bakhshis  1 Verse and Tune  2 Melody-Types: Āhang and Maqām  3 Performance Styles Part 2: Text and Translation of Shāh Esmāʿil and Golzār Khānom Episode 1 Episode 2 Episode 3 Episode 4 Episode 5 Episode 6 Episode 7 Episode 8 Episode 9 Episode 10 Episode 11 Episode 12 Episode 13 Episode 14 Episode 15 Episode 16 Episode 17 Episode 18 Episode 19 Episode 20 Episode 21 Part 3: Commentary Episode 1 Episode 2 Episode 3 Episode 4 Episode 5 Episode 6 Episode 7 Episode 8 Episode 9 Episode 10 Episode 11 Episode 12 Episode 13 Episode 14 Episode 15 Episode 16 Episode 17 Episode 18 Episode 19 Episode 20 Episode 21 Appendix: Outline of Yegāneh’s Performance of Shāh Esmāʿil and Golzār Khānom Glossary Bibliography Discography Index of Dāstāns Index of Names

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Book SynopsisThis longitudinal study weaves the complex stories of many disparate musics into an account of quests for identities that illuminates Lombok’s history, its complex religious and ethnic composition, and its current political circumstances. It focuses on agents, musicians and leaders on the ground, and the socioreligious and artistic changes that transformed many music forms. The book outlines the years of political difficulty for music and years of transition and government interventions to remake musics, and identifies the emerging ideologies and developments that laid the groundwork for a diversity of musics – traditional, Islamic, popular – to simultaneously exist in an unprecedented way.Trade Review"It is not every day that a book on Lombok sees the light and certainly not a book that looks at its subject from so many different angles and over such a long period of time. [...] This book is a must for those who wish to understand Lombok but also to understand Indonesian national phenomena seen from the relatively micro-environment of Lombok." – Dick van der Meij, Digital Repository of Endangered and Affected Manuscripts in Southeast Asia (DREAMSEA), University of HamburgTable of ContentsAcknowledgements List of Figures and Tables Notes on Orthography, Terms, and Names Introduction  Setting the Scene  1 Histories and Religions  2 Musics of Lombok  3 People and Places  4 Fieldwork Histories  5 Organizing Music and Identity 1 Change, Religion, and Identity in Music Cultures  1 Religion, Religious Identities, and Interreligious Relationships  2 Constructing and Dismantling Pluralism and Tolerance  3 Modernity and Change  4 Politicizing Identities and Musics  5 Changing Islams and a Sasak Movement  6 Music and Identity  7 Sonic Identities and Situating ‘Tradition’  8 Exploring Change on Lombok 2 ‘Traditional’ Musics  Functions, Contestations, Interpretations  1 Gamelan-type Ensembles  2 Gamelan Gong Sasak/Gong Kebyar  3 Vocal Music  4 Sacred Forms  5 Other Dance and Theatre  6 Summary 3 The Phenomenon of Gendang Beleq  1 From Ritual to Stage  2 Transitions  3 Analysis of Chapter 4 Wayang Sasak  Shadowplay, Practices, Elements, and Narratives  1 Symbolism, Characters, and Identity  2 Accompaniment  3 Government Interventions  4 Situating Puppeteers and Processes  5 The Situation Today and Tomorrow 5 Music, Islam, and Islamization  1 Islam on Lombok  2 Issues of Music and Islam  3 Musik Islam  4 Zikrsamman  5 Marawis  6 Tongkek  7 Realizations of Burdah, Hadrah, and Rebana Burdah  8 Synthesis 6 Popular Musics and ‘Musik Rakyat’  1 Weddings  2 Musik Rakyat: Gambus, Cilokaq, Kecimol Asli, and Amaq Sadar  3 Musik Rakyat on the Street: Gula Gending and Selober  4 Popular Musics: Cultural and Gender Identities, and Erni Ayuningsih  5 Global Styles and Novi Bhavan  6 Synthesis: Intersections and Divergences of Folk and Popular Musics 7 Minority Musics of Lombok  1 Overview of Other Musics of Minority Populations  2 Sasak Buddhists, Rituals, and Musics  3 Lombok Balinese Music Culture  4 Summary of Chapter 8 Nexus of Sasak/Balinese Interaction  The Lingsar Festival  1 Reflective Takes on the Site, the Festival, and the Participants  2 Agamaization  3 Bridges to the Ancestors  4 Politicizing Lingsar: Contestation, Narratives, and the State  5 Tolerance of Ambiguity  6 A Long View 9 Performing Arts Education and Issues of Sustainability  1 Between Apathy and Sustainability  2 Indonesian Nation-building  3 Mochammad Yamin and lpsn  4 The Bidang Kesenian  5 Arts Education in the 21st Century  6 Contextualizing Benefits of Music Sustainability  7 Concluding Thoughts 10 Conclusion  Making Sense of All of This  1 Musics as Representation  2 Histories of Change  3 Ambivalence, Sociopolitical Identities, and the Arts  4 Final Thoughts on Musics and Identities Bibliography Index

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Book SynopsisMedieval Arab Music and Musicians offers complete, annotated English translations of three of the most important medieval Arabic texts on music and musicians: the biography of the musician Ibrāhīm al-Mawṣilī from al-Iṣbahānī’s Kitāb al-Aghānī (10th c), the biography of the musician Ziryāb from Ibn Ḥayyān’s Kitāb al-Muqtabis (11th c), and the earliest treatise on the muwashshaḥ Andalusi song genre, Dār al-Ṭirāz, by the Egyptian scholar Ibn Sanā’ al-Mulk (13th c). Al-Mawṣilī, the most famous musician of his era, was also the teacher of the legendary Ziryāb, who traveled from Baghdad to al-Andalus and is often said to have laid the foundations of Andalusi music. The third text is crucial to any understanding of the medieval muwashshaḥ and its possible relations to the Troubadours, the Cantigas de Santa María, and the Andalusi musical traditions of the modern Middle East.Table of ContentsPreface Acknowledgements part 1: The Biography of Ibrāhīm al-Mawṣilī Introduction The Biography of Ibrāhīm al-Mawṣilī [Kitāb al-aghānī, Vol. V – 1964 rpt. of Dār al-Kutub Edition, pp. 154–258] Ibrāhīm al-Mawṣilī’s Genealogy and Various Anecdotes about Him part 2: The Biography of Ziryāb Introduction The Biography of ʿAlī ibn Nāfiʿ, Known as Ziryāb [Ibn Hayyān, Kitāb al-muqtabis: al-Sifr al-Thānī (al-Riyāḍ: 2003), pp. 307–335] On Singing: Information about Ziryāb, the Greatest Singer of the Land of al-Andalus part 3: Ibn Sanāʾ al-Mulk’s Dār al-Ṭirāz Introduction Contents of Dār al-Ṭirāz fī ʿAmal al-Muwashshaḥāt [The House of Brocade on the Composition of Muwashshaḥāt] The House of Brocade on the Composition of Muwashshaḥāt [Dār al-ṭirāz fī ʿamal al-muwashshaḥāt] by Ibn Sanāʾ al-Mulk (c. 1155–1212) Bibliography Index

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Book SynopsisIf, as Robert Craft remarked, ‘religious beliefs were at the core of Stravinsky’s life and work’, why have they not figured more prominently in discussions of his works? Stravinsky’s coordination of the listener with time is central to the unity of his compositional style. This ground-breaking study looks at his background in Russian Orthodoxy, at less well-known writings of Arthur Lourié and Pierre Souvtchinsky and at the Catholic philosophy of Jacques Maritain, that shed light on the crucial link between Stravinsky’s spirituality and his restoration of time in music. Recent neuroscience research supports Stravinsky’s eventual adoption of serialism as the natural and logical outcome of his spiritual and musical quest.Table of ContentsAcknowledgements List of Tables and Illustrations Notes on Previously Published Material Prologue 1 The Stravinsky Legacy?  1 ‘Time’ for a New Legacy? 2 Being and Time: A Nightingale Sings …  1 Stravinsky’s Spirituality …  2 … and Musical Inheritance  3 Temporality in Znamenny Chant  4 Resonance  5 Le Rossignol (1908–14) 3 From Now to Eternity  1 Petrushka (1911)  2 Zvezdoliki (1911)  2.1 Stravinsky and the Old Believers  2.2 Time Qualities in Zvezdoliki 4 A Russian Spring  1 Time as a Mental Construct  2 The Rite of Spring  3 Time Qualities in The Rite of Spring 5 A Japanese Spring 6 Heaven and Earth  1 The 025 Motif and Changing Time Qualities 7 New Patterns for Old  1 Cortical Patterning  2 Three Pieces for String Quartet (1914)  3 Chant Dissident (1919)  4 Pulcinella (1919–20)  5 Symphonies of Wind Instruments (1920) and Cubism  6 Symphonies of Wind Instruments (1920): Temporal Form  7 Time and Form: Jacques Maritain 8 Time for Pushkin 9 The Object Is Time  1 Mental Imaging  2 Octet (1923)  3 Oedipus Rex (1926)  4 Apollo (1928)  5 Lourié’s Understanding of Stravinsky 10 A Journey to Hyperspace  1 1st Movement  2 2nd Movement  3 3rd Movement  4 Music as a Higher Brain Function 11 Faith Matters  1 Pater Noster (1926)  2 Russian Credo (1932)  3 Ave Maria (1934)  4 Tests of Faith  5 Perséphone (1933)  6 Darker Times  7 Babel (1944)  8 Mass (1944–48)  8.1 Kyrie  8.2 Gloria  8.3 Credo  8.4 Sanctus  8.5 Agnus Dei  9 The Poetics of Stravinsky and Maritain 12 A Matter of Time 13 Stravinsky, Schoenberg and God  1 Belief in Divine Authority  2 Belief in the Hebrew God  3 Belief in Biblical Mythology  4 Belief in Catholic Culture  5 Devotion to the Word  6 Synthesis 14 New Wine  1 Cantata (1952)  2 Stravinsky, Webern and God  3 Canticum Sacrum (1955)  4 Threni (1958)  4.1 De Elegia Prima  4.2 De Elegia Tertia  4.3 De Elegia Quinta 15 Late Harvest  1 A Sermon, A Narrative and A Prayer (1961)  1.1 A Sermon  1.2 A Narrative  1.3 A Prayer  2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)  3 The Flood (1962)  4 Abraham and Isaac (1962–3)  5 Requiem Canticles (1966)  5.1 Prelude  5.2 Exaudi  5.3 Dies Irae  5.4 Tuba Mirum  5.5 Interlude  5.6 Rex Tremendae  5.7 Lacrimosa  5.8 Libera Me  5.9 Postlude Epilogue  Appendix 1 Victor Ivanovitch Nesmelov: The Science of Man  Appendix 2 Gisèle Brelet Bibliography Index

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Book SynopsisExploring an array of captivating topics, from hybridized Buddhist music to AI singers, this book introduces Japanese music in the modern era. The twenty-five chapters show how cultural change from the late nineteenth century to the present day has had a profound impact on the Japanese musical landscape, including the recontextualization and transformation of traditional genres, and the widespread adoption of Western musical practices ranging from classical music to hip hop. The contributors offer representative case studies within the themes of Foundations, Heritage, Institutions, and Hybridities, examining both musical styles that originated in earlier times and distinctly localized or Japanized musical forms.

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Book SynopsisLes études sur le rôle de la musique dans l’œuvre de Proust ont presque toutes un trait en commun : celui de se situer, au moins en partie, dans la recherche musico-littéraire traditionnelle qui relève les allusions, identifie les œuvres auxquelles il est fait référence et cherche à montrer le rôle joué par la musique à l’intérieur du schéma traditionnel d’analyse du roman. Ainsi dans la Recherche les multiples éléments qui composent le thème de la musique se manifestent sous trois aspects différents : la première manifestation musicale et la plus évidente est celle de la musique-art. A ce niveau il faut faire une distinction entre la musique réelle et la musique imaginaire de Vinteuil. Quel rôle jouent les allusions à la musique dans l’action, dans la psychologie des personnages, dans le retour des thèmes, enfin dans la composition de l’œuvre ? Ainsi Proust utilise la musique pour peindre la société. Mais la musique apparaît également en tant que telle dans les récits de concert, notamment la musique de Vinteuil. La deuxième manifestation de l’expérience musicale est celle des sons, des bruits et des voix : la musique naturelle. De nombreuses pages de la Recherche portent l’empreinte des sonorités de la nature et des bruits. Et troisièmement il y la musique née non pas de sensations auditives, mais visuelles, tactiles ou psychologiques : la métaphore musicale. Ces trois aspects sont traités diversement dans le présent recueil. Et comme l’a écrit Marcel Proust : "Il y a pourtant un royaume de ce monde où Dieu a voulu que la Grâce pût tenir les promesses qu’elle nous faisait, descendît jusqu’à jouer avec notre rêve […] : c’est le royaume de la musique." Avec des contributions de Sabine van Wesemael, Sjef Houppermans, Manet van Montfrans, Laurence Miens, Luc Fraisse, Isabelle Perreault, Kaéko Yoshikawa, Manola Antonioli, Nell de Hullu-van Doeselaar, Arthur Morisseau, Anne Penesco, Akio Wada, Cédric Kayser, Annelies Schulte Nordholt.Table of ContentsContents Liste des auteurs Introduction  Sabine van Wesemael et Sjef Houppermans Partie 1: Proust et la musique Partie 2: Dossier réuni par Sabine van Weesemael et Sjef Houppermans Reynaldo Hahn en sourdine. Échos d’Esther dans À la Recherche du temps perdu  Manet van Montfrans Jeux sur la scène de la Recherche  Laurence Miens Jusqu’à quel point la Recherche serait-elle un roman wagnérien ?  Luc Fraisse Une musique qui « ressemblait à la vie ». La Recherche et la fabrique musicale de la modernité romanesque  Isabelle Perreault Proust et les opérettes d’Offenbach. Autour de M. Choufleury restera chez lui le 24 janvier  Kaéko Yoshikawa Les ritournelles dans À la Recherche du temps perdu  Manola Antonioli Le Spectre de la rose. De la blanche Sonate au rouge Septuor, l’orchestration chromatique vers la vocation  Nell de Hullu-van Doeselaar Le timbre de la musique de Vinteuil  Arthur Morisseau Proust et les « paysages sonores »  Anne Penesco Proust à l’écoute de Pelléas et Mélisande  Akio Wada Les échos du corps. La dimension intersensorielle du son  Cédric Kayser Comment la musique de Beethoven résonne dans A la recherche du temps perdu  Sabine van Wesemael Autres musiques  Sjef Houppermans COMPTES RENDUS Edward Bizub, Faux pas sur les pavés, Proust controversé. Suivi de Beckett et Quignard à contre-pied  Manet van Montfrans A propos de Michel Erman, Marcel Proust, la vie, le temps. Essai (Actes Sud, 2021) ; Jean-Yves Tadié, Proust et la société (Gallimard, coll. Nrf, 2021) ; Nicolas Ragonneau, Proustonomics. Cent ans avec Proust (Le temps qu’il fait, 2021)  Annelies Schulte Nordholt Bulletin Marcel Proust, No 69, Publication de la Société des Amis de Marcel Proust et des Amis de Combray  Nell de Hullu-van Doeselaar Bulletin d’Informations proustiennes, no 50, Paris, Item  Manet van Montfrans

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Book SynopsisGermany is considered a lauded land of music: outstanding composers, celebrated performers and famous orchestras exert great international appeal. Since the 19th century, the foundation of this reputation has been the broad mass of musicians who sat in orchestra pits, played in ensembles for dances or provided the musical background in silent movie theatres. Martin Rempe traces their lives and working worlds, including their struggle for economic improvement and societal recognition. His detailed portrait of the profession ‘from below’ sheds new light on German musical life in the modern era.Table of ContentsContents Preface to the English translation Acknowledgements List of Figures and Tables Abbrevations Introduction Part 1: Lifeworlds in the Nineteenth Century 1 Wilhelm Wieprecht or On the Life of the Musician in the Sattelzeit  1 Municipal Pipe Bands  2 Municipal Theatre  3 Court Orchestras  4 Military Bands  5 Musicians’ Lives in the Sattelzeit 2 The Discovery of the Social: Musicians’ Organizations between Art and Labour  1 Liszt, Wagner and the Allgemeiner Deutscher Musikverein  2 A Rendezvous with Hirsch and Schulze-Delitzsch  3 The General German Musicians’ Union  4 Putting the Class Struggle on Hold 3 Musicians’ Plight: Education and Everyday Working Life around 1900  1 The Hell of Apprenticeship and Little Old Men Painting Pictures  2 Hungry Dogs Make Good Hunters  3 Versatile, Mobile, Flexible: Lifeworlds  4 Sombart’s Insights 4 In a Different World: Women in Musical Life  1 Role Models  2 Pianomania  3 Four Life Paths  4 Born to Play Part 2: Projects of Professionalization, 1890–1930 5 A Circuitous Route into the Bourgeoisie: Self-Civilizing and Lobbying  1 Education Is Power  2 Knowledge Production as an Aid to Self-Help  3 Musicians’ Movement and Trade Unions  4 Musicians as Workers: Social Legislation  5 Social Democratic Terrorism: The Munich Orchestra Scandal  6 Reconciliation of Interests and Municipalization  7 David and Goliath: Against Military Competition  8 Nietzsche’s Freak Show 6 War Profiteers: Musicians at the Front and at Home  1 Privileges at the Front  2 Limited and Unlimited Solidarity  3 Good Prospects  4 Essential to the War Effort: Orchestral Musicians  5 Relative War Profits 7 Squabbling Professions: Musicians, Composers and Music Teachers  1 Perspectives on a Unified Chamber of Musicians  2 Turf Wars  3 A Search for Lost Unity: The Musikergemeinschaft  4 Vanity Fair 8 An Era of Experiments: New Media, Fashions and Musicians in the Cultural and Welfare State  1 War and Peace: Continuities  2 Musical Empire: The Cultural State  3 Curse and Blessing: The Welfare State  4 The Ephemeral Job Description of ‘Silent Film Musician’  5 A Playground for Conductors and Composers: Radio  6 Jazz, or the Emergence of Popular Music as an Independent Genre  7 Emancipation in the Workplace  8 Musicians for the ‘People’s Body’ (Volkskörper): Occupational Hygiene  9 In the Middle of Society Part 3: Crisis, Collapse, Continuities, 1930–1960 9 Neglected Muse: Nazi Music Policy  1 Cutback Fever: The World Economic Crisis  2 The Reich Chamber of Music: Right-Wing Staff …  3 … and Left-Wing Reforms  4 Exclusions: Jews and Opponents of the Regime  5 Civil Decline …  6 … and Remilitarization  7 United in Discord: The Music of the Volksgemeinschaft  8 Beyond Instrumentalization 10 Forced Migrations: Lifeworlds in Times of War and Violence  1 Global Refugee Movements  2 A Provincial Terminus: Exile in the United States  3 Music as Avenue of Escape? Deportations  4 Scattered by War  5 Managing Lack in the Reich  6 Twilight of the Musicians? 11 The Day of the Orchestral Musician: Ascent and Exit in West Germany  1 Flourishing Musicians in a Time of Rubble  2 Orchestral Revolution amid the Jobs Crisis  3 Money, Money, Money: Wage Agreements and Royalties  4 Winners and Losers  5 At the Crossroads Conclusion: Musicians’ Lives as Creative Work Appendix: Statistics on the Music Profession in Germany Bibliography Index

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Book SynopsisMusic, Popular Culture, Identities is a collection of sixteen essays that will appeal to a wide range of readers with interests in popular culture and music, cultural studies, and ethnomusicology. Organized around the central theme of music as an expression of local, ethnic, social and other identities, the essays touch upon popular traditions and contemporary forms from several different regions of the world: political engagement in Italian popular music; flamenco in Spain; the challenge of traditional music in Bulgaria; boerenrock and rap in Holland; Israeli extreme heavy metal; jazz and pop in South Africa, and musical hybridity and politics in Côte d’Ivoire. The collection includes essays about Latin America: on the Mexican corrido, the Caribbean, popular dance music in Cuba, and bossanova from Brazil. Communities of a cultural diaspora in North America are discussed in essays on Somali immigrant and refugee youth and Iranians in exile in the US. Grounded in cultural theory and a specialized knowledge of a particular popular musical practice, each author has written a critical study on the mix of music and identity in a particular social practice and context.Table of ContentsRichard YOUNG: Introduction. William ANSELMI: From cantautori to posse: Sociopolitical Discourse, Engagement and Antagonism in the Italian Music Scene from the 60s to the 90s. Daniel F. CHAMBERLAIN: El corrido: Identity, Narrative, and Central Frontiers. John Charles CHASTEEN: A National Rhythm: Social Dance and Elite Identity in Nineteenth-Century Havana. Catherine DEN TANDT: Globalization and Identity: The Discourse of Popular Music in the Caribbean. Murray FORMAN: “Keeping it Real”?: African Youth Identities, and Hip Hop. Keith KAHN-HARRIS: “I hate this fucking country”: Dealing with the Global and the Local in the Israeli Extreme Metal Scene. Henry KLUMPENHOUWER: The Idiocy of Rural Life: Boerenrock, the Rural Debate and the Uses of Identity. Adam KRIMS: Rap, Race, the “Local,” and Urban Geography in Amsterdam. George LANG: Cannibalizing Bossa Nova. Claire LEVY: Who is the “Other” in the Balkans? Local Ethnic Music as a Different Source of Identities in Bulgaria. Lisa MCNEE: Back from Babylon: Popular Musical Cultures of the Diaspora, Youth Culture and Identity in Francophone West Africa. Hamid NAFICY: Identity Politics and Iranian Exile Music Videos. Parvati NAIR: Vocal In-roads: Flamenco, Orality and Postmodernity in Las 3000 Viviendas, Viejo Patio (Culcimer and EMI, 1999) Viviana RANGIL: Selena: Two Complementary Cinematographic Interpretations. Michael Frank TITLESTAD: “The artist gathers the bones”: The Shamanic Poetics of Jazz Discourse. Stella VILJOEN: En Route to the Rainbow Nation: South African Voices of Resistance. Contributors. Index.

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Book SynopsisThis study bridges literature and music at an exciting and controversial point, offering the lover of music and literature and the specialist reader an insight into the relationship between Wagner’s operas and the nineteenth century novel, including comparisons with Rigoletto and Der Rosenkavalier in their evolution from other forms. It discusses matters of genre and national tradition, placing Wagner’s works in the heritage of the European Enlightenment. Comparisons of Wagner’s works with the novel have been fleeting, denoting only their length and complexity. Examining in principle and in detail the proximity of Wagner’s themes and techniques to the practices of the Realist novel, this study sheds original light on major issues of Wagner’s works and on opera as genre. The book trawls extensively in two research fields. It looks to the established Wagner literature for understandings of the musical procedures which map his works onto the prose fiction, while reading Wagner’s operas against the backdrop of the European novel, rather than against German Romantic fiction. It revisits Adorno’s music sociology and his seminal study of Wagner, but repositions many elements of his argument. Unusually, this book adopts a critical stance to Nietzsche’s view of Wagner. In marked contrast to Nietzsche, the study regards parallels between Wagner and Flaubert as an enrichment of our understanding of Wagner’s achievement. The book concludes with a major question of European cultural history: why it is that – in common with Italy, but in marked contrast to France or England – Germany’s most representative works in the nineteenth century are operas rather than novels.Trade Review"Much of Wagner and the Novel is a delight to read. Ridley (a leading Germanist) has that rare gift of writing as if he were talking to the reader directly, with point and charm. He is a fine literary critic, as his superb analysis of the opening of Henry James’ The Ambassadors in quasi-musical terms shows […]" – Christopher Webber, in: Opera, January 2013, pp. 128-130 "Wagner and the Novel is an inspiring, yet at times uncomfortable and provocative book, which will be received differently by individual readers. In that sense, it is a worthy birthday present for an artist who has been stirring the emotions for almost 200 years." – Kasper van Kooten, in: Vooys 31/1 (2013)Table of ContentsIntroduction Establishing the Key-signature Wagner and the Novel: the existing view Forms of Collaboration across the Genres Wagner and the Realist Novel – mostly about Die Meistersinger with some Ring Questions, Answers and Body Language in Wagner and the Realist Novel Wagner and Freudian Psychology Opera, Novel and the Nation Bibliography Index

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Book SynopsisThis volume includes twenty-five interdisciplinary essays on Paul Bowles’s literary and musical work. The legendary author – a North-American expatriate writer and composer, and a cult figure who, according to Norman Mailer “... let in the murder, the drugs, the incest, the death of the square, the end of civilization” – and his artistic output, are explored here by leading contemporary scholars. They seek alternative and multiple perspectives of his work through the dynamics of music and literature, avant-garde film and the No wave scene, torture studies and security, Islamic studies, modernism and surrealism. Following the international conference “Do You Bowles?” held in Lisbon, in 2010, which celebrated Paul Bowles’s 100th birthday, this collection shows how Bowles’s work engages creatively with his predecessors and a variety of perspectives, by rethinking modes of consciousness and of artistic and cross-cultural potential that still inspire todays’ artists and scholars, both as a writer as well as a composer. The editor set up a webpage dedicated to the book: http://www.doyoubowles.org/Table of ContentsAbbreviations Acknowledgements “Paul Bowles Now and Then: Introduction”, Anabela Duarte I. The Fascination of Paul Bowles – Face to Face Secrecies “Paul Bowles as I Knew Him”, Christopher Sawyer-Lauçanno “‘I Would Invite You to Supper but I Have Only One Egg:’ Teaching with Paul Bowles”, Regina Weinreich “The Fascination of Paul Bowles”, Allen Hibbard II. Ecologies of Fear and Violence: Resistance or Desistance? “The Perceptual is Political: Modes of Consciousness in The Spider’s House”, Greg Bevan “Laughing with Thieves: Images of Paul Bowles in Tahar Ben Jelloun and Mohamed Choukri”, Clare Brandabur “The Spider’s House: Paul Bowles and the Question of Moroccan Independence”, Younes Riyani El Assaad “Tangier, Capital of Treason”, Andrew Hussey “False Concepts: The Absence of Security and Intimacy in the Work of Paul Bowles”, Andrew Martino III. Music, Noise and Politics “The Music and Politics of Pastorela (1941)”, Jennifer L. Campbell “Paul Bowles and Latin American Music”, Luis Hérnandez Mergal “‘The Question of Music and Prose, It’s a Tricky One to Answer,’ Paul Bowles: Composer – Writer”, Verena Mogl “The Musical Styles of Early Songs of Paul Bowles”, Carole Blankenship “On Degenerescence and Realms of Suppression: Paul Bowles vis-à-vis Einojuhani Rautavaa”, Zbigniew Bialas “Noise and Violence in Up Above the World – Music as Torture in Modern Fiction”, Anabela Duarte IV. No Maps for these Territories: Bowles, Burroughs and Beyond “Aesthetic Tourists: The Sheltering Sky’s Critique of Modernism”, Christopher Leslie “American Existentialism and Surrealism in Paul Bowles’s ‘The Scorpion’ and ‘By the Water,’ Jack Kerouac and William Burroughs’s And The Hippos Were Boiled in Their Tanks”, Benjamin J. Heal “‘What You Do Is Nearer to What You Are than What You Think Is’: The Importance of Place and Space in Paul Bowles’s Short Fiction”, Isabel Oliveira Martins “Experiences of Death and Dissolution in Paul Bowles’s The Sheltering Sky and Jack Kerouac’s Desolation Angels and The Dharma Bums”, Nuno Marques V. You Are Not I – Film and Text “Good Film Hunting: Sara Driver, Paul Bowles, and Tangier”, Francis Poole “A Resistant Text: ‘You Are Not I’”, Yoshiaki Koshikawa VI. On Intercultural Mediations “Towards an Absent Origin: The Edge of Anger in Paul Bowles’s ‘A Distant Episode’”, Bouchra Benlemlih “The Impossible Relationship with the ‘Other’ in ‘The Time of Friendship’”, Fernando Gomes VII. Momentum No Speed: Film, Bohemia and the Uncanny “The Film Narrator Paul Bowles”, Kostoula Kaloudi “Gothic Short Circuits in Paul Bowles’s Fiction”, Maria Antónia Lima “Literary Friendship: The Bowleses and Tennessee Williams”, Krisztina Dankó Contributors Index

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Book SynopsisAsha's music, focusing mainly on the people who helped her earn the limelight, and the evolution of her sound, highlighting her remarkable versatility over the years.

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Book Synopsis

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