Description
Book SynopsisDuring the early medieval Islamicate period (800–1400 CE), discourses concerned with music and musicians were wide-ranging and contentious, and expressed in works on music theory and philosophy as well as literature and poetry. But in spite of attempts by influential scholars and political leaders to limit or control musical expression, music and sound permeated all layers of the social structure. Lisa Nielson here presents a rich social history of music, musicianship and the role of musicians in the early Islamicate era. Focusing primarily on Damascus, Baghdad and Jerusalem, Lisa Nielson draws on a wide variety of textual sources written for and about musicians and their professional/private environments – including chronicles, literary sources, memoirs and musical treatises – as well as the disciplinary approaches of musicology to offer insights into musical performances and the lives of musicians. In the process, the book sheds light onto the dynamics of medieval Islamicate courts, as well as how slavery, gender, status and religion intersected with music in courtly life. It will appeal to scholars of the Islamicate world and historical musicologists.
Trade Review"A rich exploration of the social and religious contexts of music-making in the medieval Islamic world. Nielson weaves together issues of gender, ethnicity, social class, and religion to provide a readable and accessible survey of the complex interaction of these forces and how they affected musical culture. A recommended read for scholars and students of the medieval Middle East." -- Dwight F. Reynolds, University of California, Santa Barbara, USA
This fascinating book offers a remarkable new insight in the role of music and musicians at the courts of the caliphs in the medieval Islamic world. It sketches a social history of the
qiyan, the singing slave girls, and their male counterparts, the
mukhannathun, or ‘effeminate’ musicians, focusing on their socio-cultural position: their ethnical background, sexual relationships, patronage, skills, and career development. -- Anne, van Oostrum, University of Amsterdam, Netherlands
Table of ContentsSection I: Musical Culture in the Early Islamic Courts Chapter 1: Music and Musicians Chapter 2: Musicianship and Performance Chapter 3: Patronage Section II: Representations of Musicianship and Identity Chapter 4: Literary Performance of Music and Reading Musical Identity Chapter 5: Slavery and Gender Chapter 6:
Ethnos and
gens Section III: Diversions of Pleasure Chapter 7: Discomfort and Censure Chapter 8:
Sama? and Practice Chapter 9: The Politics of Listening
