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After the establishment of the Turkish Republic, Turkey's secularized society disdained the ney, the Sufi reed flute long associated with Islam. The instrument's remarkable revival in today's cities has inspired the creation of teaching and learning sites that range from private ney studios to cultural and religious associations and from university clubs to mosque organizations. Banu Şenay documents the years-long training required to become a neyzen—a player of the ney. The process holds a transformative power that invites students to create a new way of living that involves alternative relationships with the self and others, changing perceptions of the city, and a dedication to craftsmanship. Şenay visits reed harvesters and travels from studios to workshops to explore the practical processes of teaching and learning. She also becomes an apprentice ney-player herself, exploring the desire for spirituality that encourages apprentices and masters alike to pursue ney music and its scaffolding of Islamic ethics and belief.
Examines how the making, marketing and performance of new Islamic music genres relate to Islamic discourse and thought, through a case study of Awakening, an Islamic media company formed in London.
This surveys the philosophies of music of the most important thinkers in Islam between the 9th and the 15th centuries A.D. It covers topics ranging from the physics and aesthetics of sound, the nature of music, its place in the total scheme of things and in human life, the relation between music, astronomy, astrology and meteorology, the relation between music and human feelings character and behaviour, to the question of whether a good Muslim should be allowed to listen to music at all, and if so, to which type. The book traces the influence of Greek, in particular Pythagorean and Aristoxenian, thinking in Islam on this subject, and aims to provide a philosophically coherent statement of thinking of the Islamic writers concerned, a clarification of their central arguments, as well as a critical evaluation of their line of thought. The author introduces a wide range of material from manuscript sources, including much that has not been published before.
The notion of adab is at the heart of Arab-Islamic culture. Born in the crucible of the Arabic and Persian civilization, nourished by Greek and Indian influences, this polysemic notion could cover a variegated range of meanings: good behavior, knowledge of manners, etiquette, rules and belles-lettres and finally, literature. This collection of articles tries to explore how the formulations and reformulations of adab during the first centuries of Islam engage with the crucial period of the first great spiritual masters, exploring the importance of normativity, but also of transgression, in order to define the rules themselves. Assuming that adab is ethics, the articles analyse the genres of Sufi adab, including manuals and hagiographical accounts, from the formative period of Sufism until the modernity. Contributors are: Alberto F. Ambrosio, Nelly Amri, Francesco Chiabotti, Rachida Chih, Ralf Elger, Eve Feuillebois-Pierunek, Maria Chiara Giorda, Denis Gril, Paul L. Heck, Nathan Hofer, Ahmet T. Karamustafa, Annabel Keeler, Pierre Lory, Catherine Mayeur-Jaouen, Erik S. Ohlander, Samuela Pagani, Luca Patrizi, Michele Petrone, Stefan Reichmuth, Lloyd Ridgeon, Elisha Russ-Fishbane, Florian Sobieroj, Renaud Soler, Jean-Jacques Thibon, Mikko Viitamäki.
Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments – in Europe, Oceania, China, India, the Muslim world, North and South America – in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era.
The story of music told in this book begins in pre-Islamic times with musical forms that bear strong imprints of the Bedouin's tribal way of life. Pre-Islamic music can be viewed as the forerunner of the art music that acquired a foothold after the advent of Islam. The history of Arab music then became inextricably entwined with the musical traditions of the conquered lands. The merging of diverse forms into a unique common style marked the advent of the Great Musical Tradition that gained favor throughout an extensive geographical area. By the end of Islam's third century, distinct autonomous styles began to appear involving Persians and Turks in particular.
In this novel and lucid work, Christopher Houston clarifies a particular modern style and practice of politics that he calls anthropocracy. In the name of popular sovereignty, anthropocracies de-legitimize the rule of God(s) even as they re-deploy it to stabilize the rule of the representatives of the people, all the while obfuscating their political conscription of the divine. In distinguishing anthropocracy from varieties of other secular and laicist political arrangements, as well as from theocracy, this book also gives readers a brilliant solution to what it calls the Turkish puzzle, the dilemma over how to best describe and analyze state-religion and state-society relations in the Turkish Republic. This work convincingly undermines two orthodox presumptions about Turkish politics: the claim that Turkish modernity should be considered an example of secularity; and the accusation that the current AKP government should be interpreted as Islamic. On the contrary, it argues that both Kemalism and the AKP continue to institute an anthropocratic Republic.
From “green” pop and “clean” cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world. The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a “post-Islamist” cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a “cool Islam” in music, their struggle to quell their stigmatized status, or the collision of morals and the marketplace in the arts, a vivid, varied new perspective on Muslim culture emerges.
In this pioneering study, Hisham Aidi—an expert on globalization and social movements—takes us into the musical subcultures that have emerged among Muslim youth worldwide over the last decade. He shows how music—primarily hip-hop, but also rock, reggae, Gnawa and Andalusian—has come to express a shared Muslim consciousness in face of War on Terror policies. This remarkable phenomenon extends from the banlieues of Paris to the favelas of Rio de Janeiro, from the park jams of the South Bronx to the Sufi rock bands of Pakistan. The United States and other Western governments have even tapped into these trends, using hip hop and Sufi music to de-radicalize Muslim youth abroad. Aidi situates these developments in a broader historical context, tracing longstanding connections between Islam and African-American music. Thoroughly researched, beautifully written, Rebel Music takes the pulse of a revolutionary soundtrack that spans the globe.