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A fascinating aspect of the study of music in medieval Islamic and
Judaic writings is the broad and interdisciplinary nature of the
works and treatises in which it is covered. In addition, such works
verbalize an art that was transmitted orally and took shape
spontaneously, typically with improvisation during performance. As
a result of this outlook the musical concept (or science) is often
intertwined with practice (or history). This second collection by
Amnon Shiloah brings together twenty-two studies exemplifying such
multi-faceted viewpoints on the world of sounds and its virtue. The
first studies concern the origin and originators of music and to
how its essential constituents came into being; included here is
the art of dance along with the controversial attitudes towards it.
Next comes the symbolic, philosophical and metaphorical
interpretation of music; one of the major ideas epitomizing this
approach claimed that the pursuit of knowledge is the path to human
perfection and happiness. There follow studies on the transmission
of knowledge, along with some annotated key works dealing with
therapeutic effects. The last articles focus on cultural traditions
elaborated on European soil developing a particular style and
musical practice, centred on the Iberian Peninsula, which was the
scene of one of the most fascinating examples of cultural
interchange.
Within Israel there are a number of musical traditions and styles
encompassing sacred and secular, old and new, folk and
sophisticated forms. Contributions to this issue form a discussion
of significant traditions established before 1948: the search for
the establishment of a new and typically Israeli art and folk
music; the attitude of the protagonist of the old, exile,
traditional heritage of the Jewish people; and the struggle of the
immigrants after the creation of the State of Israel to ensure the
survival of their musical traditions as well as to cope with the
new physical and cultural environment. The general scope of these
contributions corresponds to major events marking the musical and
cultural history of modern Israel from the 1920s to 1990s,
including local Arab music. A CD of examples of Arab music, Yiddish
song, Klezmer, and Judeo-Spanish song is included with Part 2.
The story of music told in these pages 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 foot-hold 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 an unique common style marked the
advent of the Great Musical Tradition that gained favour 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. Chapters six and seven are
devoted to the different local styles. Chapters eight examines the
tendency toward reform and modernisation that starts at the
nineteenth century. The last four chapters deal with the basic
theoretical, formal and technical issues, e.g. scales, modes and
rhythms; forms and genres; dance and folk music. This material
often supplements the more general information treated in
historical context in the first chapters. In conceiving this book
we have aspired to portray a comprehensive picture emphasising the
how and why, a picture drawn in the light of major historical and
cultural events. We have endeavoured to present concepts about
music, and conflicting attitudes toward it, as they prevailed in
their time. To this end, we have taken fullest advantage of the
great number of sources now available. Our overview of the music
and musical life of an immense geographical area over a time-span
that lasted roughly from the fifth century to our days, attempts to
describe outstanding musical events and stylistic developments
against the background of major historical and political
happenings, and to indicate their relationship to other cultural
fields.
Though we can no longer hear how it sounded, the written sources
that remain provide much information on the music of the medieval
Islamic and Jewish worlds, on how it was regarded and on the
importance that was attached to it. Amnon Shiloah has been a
pioneer in the exploration of these sources, and the present volume
brings together some of the results. The opening studies examine,
with annotated translations, several key works expounding the
meaning of music and its power, in terms of its ethical and
therapeutic effects and properties. The following articles focus on
scientific writings about music and on the transmission of musical
knowledge, while the final section approaches the subject from the
angle of religion, noting how the power attributed to music
occasioned the distrust of many religious figures, who feared its
capacity to deprave and debase its audience. Bien que nous ne
puissions plus de nos jours l'entendre, les sources ecrites qui ont
survecu apportent enormement d'information sur la musique des
mondes juifs et islamiques, sur l'importance qui y etait attachee
et sur son rAle. Le professeur Shiloah est un des pionniers en
terme d'exploration de ces sources et le present volume rassemble
un certain nombre des resultats de ses recherches. Les premieres
etudes, accompagnees de traductions annotees, font l'examen de
plusieurs travaux importants, exposant la signification de la
musique et sa puissance de par ses effets et ses proprietes morales
et therapeutiques. Les articles suivants se concentrent sur les
ecrits scientifiques au sujet de la musique et sur la propagation
de la connaissance musicale. La derniere section aborde le sujet A
partir de l'aspect de la religion, soulignant combien le pouvoir
attribue A la musique entraA (R)nait une certaine mefiance de la
part d'un certain nombre de religieux, qui craignaient son aptitude
A avilir et depraver ceux qui l'ecoutaient.
Essays dealing with the controversial concept of the "work", and
how far social and cultural practices are integral to it. The
linking theme of the essays collected here is the intersection of
musical work with social and cultural practice. Inspired by
Professor Strohm's ideas, as is fitting in a volume in his honour,
leading scholars in the field explore diverse conceptualizations of
the "work" within the contexts of a specific repertory, over four
main sections. Music in Theory and Practice studies the link
between treatises and musical practice, and analyses how
historicalwritings can reveal period views on the "work" in music
before 1800. Art and Social Process: Music in Court and Urban
Societies looks at the social and cultural practices informing
composition from the late Renaissance until the mid-eighteenth
century, and interrogates current notions of canon formation and
the exchange between local and foreign traditions. Creating an
Opera Industry focuses on how genre and artistic autonomy were
defined in operas from diverse eras and countries, explaining the
role of literature and politics in this process. Finally, The
Crisis of Modernity treats nineteenth-century music, offering new
models for "work" and "context" to challenge reigning theories of
the meaning of these terms. CONTRIBUTORS: AMNON SHILOAH, ANNA MARIA
BUSSE BERGER, MARGARET BENT, EDWARD WICKHAM, BONNIE J. BLACKBURN,
DAVID BRYANT, ELENA QUARANTA, OWEN REES, ALINA ZORAWSKA-WITKOWSKA,
ELLEN T. HARRIS, CHRISTOPH WOLFF, NORBERT DUBOWY, MICHAEL TALBOT,
MELANIA BUCCIARELLI, FRANCESCA MENCHELLI-BUTTINI, BERTA JONCUS,
MICHEL NOIRAY, MICHAEL FEND, EMANUELE SENICI, FEDERICO CELESTINI,
PAMELA POTTER, GIOVANNI MORELLI, JANET SMITH
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.
A fascinating aspect of the study of music in medieval Islamic and
Judaic writings is the broad and interdisciplinary nature of the
works and treatises in which it is covered. In addition, such works
verbalize an art that was transmitted orally and took shape
spontaneously, typically with improvisation during performance. As
a result of this outlook the musical concept (or science) is often
intertwined with practice (or history). This second collection by
Amnon Shiloah brings together twenty-two studies exemplifying such
multi-faceted viewpoints on the world of sounds and its virtue. The
first studies concern the origin and originators of music and to
how its essential constituents came into being; included here is
the art of dance along with the controversial attitudes towards it.
Next comes the symbolic, philosophical and metaphorical
interpretation of music; one of the major ideas epitomizing this
approach claimed that the pursuit of knowledge is the path to human
perfection and happiness. There follow studies on the transmission
of knowledge, along with some annotated key works dealing with
therapeutic effects. The last articles focus on cultural traditions
elaborated on European soil developing a particular style and
musical practice, centred on the Iberian Peninsula, which was the
scene of one of the most fascinating examples of cultural
interchange.
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