- Directly relevant to the needs of teachers and researchers in music, musicology, ethnomusicology and social anthropology. This book examines the significance of music in the construction of identities and ethnicities, and suggests ways to understand music as social practice. The authors focus on the role of music in the construction of national and regional identities; the media and 'postmodern identity'; concepts of authenticity; aesthetics; meaning; performance; 'world music'; and the use of music as a focus for discursive evocations of 'place'. The chapters tackle a wide range of subjects including 16th century etiquette, Celtic music and Chopin. The volume will be of interest to social anthropologists, and those working in the fields of cultural studies, politics, gender studies, musicology and folklore.

An investigation of the processes of globalization in the context of Istanbul - one of the oldest and grandest of world cities. Istanbul is usually identified as a battleground between East and West, between Islam and secularism. Yet the authors argue that beyond these cliches lies a complex reality shaped by an ongoing struggle over the soul of the city and the identity of its inhabitants. Istanbulites try to accommodate, understand, challenge and shape the sweeping transformations that globalization has brought to their city. Explaining the course of the conflicts and the compromises involved in maintaining a precarious urbanity, this volume focuses on the fields of struggle ranging from politics to heritage, humour to music, public space to housing.

The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.

This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright's work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers' reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright's major publications. The central chapters cover the geographical regions and historical periods addressed in Wright's publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright's own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.

This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright's work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers' reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright's major publications. The central chapters cover the geographical regions and historical periods addressed in Wright's publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright's own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.

Popular culture serves as a fresh and revealing window on contemporary developments in the Muslim world because it is a site where many important and controversial issues are explored and debated. Aesthetic expression has become intertwined with politics and religion due to the uprisings of the "Arab Spring," while, at the same time, Islamist authorities are showing increasingly accommodating and populist attitudes toward popular culture. Not simply a "westernizing" or "secularizing" force, as some have asserted, popular culture now plays a growing role in defining what it means to be Muslim. With well-structured chapters that explain key concepts clearly, Islam and Popular Culture addresses new trends and developments that merge popular arts and Islam. Its eighteen case studies by eminent scholars cover a wide range of topics, such as lifestyle, dress, revolutionary street theater, graffiti, popular music, poetry, television drama, visual culture, and dance throughout the Muslim world from Indonesia, Africa, and the Middle East to Europe. The first comprehensive overview of this important subject, Islam and Popular Culture offers essential new ways of understanding the diverse religious discourses and pious ethics expressed in popular art productions, the cultural politics of states and movements, and the global flows of popular culture in the Muslim world.

At the heart of "The Republic of Love" are the voices of three musicians--queer nightclub star Zeki Muren, "arabesk" originator Orhan Gencebay, and pop diva Sezen Aksu--who collectively have dominated mass media in Turkey since the early 1950s. Their fame and ubiquity have made them national icons--but, Martin Stokes here contends, they do not represent the official version of Turkish identity propagated by anthems or flags; instead they evoke a much more intimate and ambivalent conception of Turkishness.
Using these three singers as a lens, Stokes examines Turkey's repressive politics and civil violence as well as its uncommonly vibrant public life in which music, art, literature, sports, and journalism have flourished. However, Stokes's primary concern is how Muren, Gencebay, and Aksu's music and careers can be understood in light of theories of cultural intimacy. In particular, he considers their contributions to the development of a Turkish concept of love, analyzing the ways these singers explore the private matters of intimacy, affection, and sentiment on the public stage.

Critical citizenship practices and the language of today's populism have never been more sharply opposed. Today's insistent efforts to anchor citizenship narratives in national belonging now confront a variety of 'flexible' or 'differentiated' citizenships - plural, performative, and decentered practices of rights claiming mutually defining 'the political', its subjects, and its others on a variety of scales. They confront, too, critiques of citizenship in totalitarian or neoliberal governmentality that derive from Foucault, Agamben, and Arendt and have become pressing today in proliferating states of emergency and exception and the growing ranks of non-citizens. How should these debates be configured now? And what place does music have in them? In Music and Citizenship, author Martin Stokes argues that music has for a long time been entangled with debates about citizenship and citizenly identities, though for various reasons this entanglement has been insufficiently recognized. Citizenship and citizenly identity debates, for their part, have important implications for the way we think about music in relation to politics, identity, and scholarly practice. Stokes's particular claim is that ethnomusicology has for too long configured relationships between music, society, and reflective and critical practice in terms of identity paradigms. The rejection of these identity paradigms in recent years has taken the form of a post- or anti-humanism that is equally problematic. This book challenges the conventional understanding of citizenship in terms of nationalism and national identity though the examination of case studies from across Latin America, Africa, Asia, and Europe. In this way, this volume departs from an earlier ethnomusicology preoccupied with belonging and cultural participation in the nation-state. Citizenship-the fantasy, according to some definitions, of political community without outsiders-suggests, in this book, a different space in which one might configure such relations, one more satisfactorily, and energetically, oriented to questions about musical ecology, sustainability, democracy, and inclusivity.

The study of 'Celtic' culture has been locked within modern nationalist paradigms, shaped by contemporary media, tourism, and labor migration. Celtic Modern collects critical essays on the global circulation of Celtic music, and the place of music in the construction of Celtic 'Imaginaries'. It provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany, and amongst Diasporas in Canada, the United States and Australia, with specific reference to pipe bands, traditional music education in Edinburgh, the politics of popular/traditional crossover in Ireland, and the Australian bush band phenomenon. Contributors include performer musicians as well as academic writers. Critique necessitates reflexivity, and all of the contributors, active and in many cases professional musicians as well as writers, reflect in their essays on their own contributions to these kind of encounters. Thus, this resource offers an opportunity to reflect critically on some of the insistent 'othering' that has accompanied much cultural production in and on the Celtic World, and that have prohibited serious critical engagement with what are sometimes described as the 'traditional' and 'folk' music of Europe.

Critical citizenship practices and the language of today's populism have never been more sharply opposed. Today's insistent efforts to anchor citizenship narratives in national belonging now confront a variety of 'flexible' or 'differentiated' citizenships - plural, performative, and decentered practices of rights claiming mutually defining 'the political', its subjects, and its others on a variety of scales. They confront, too, critiques of citizenship in totalitarian or neoliberal governmentality that derive from Foucault, Agamben, and Arendt and have become pressing today in proliferating states of emergency and exception and the growing ranks of non-citizens. How should these debates be configured now? And what place does music have in them? In Music and Citizenship, author Martin Stokes argues that music has for a long time been entangled with debates about citizenship and citizenly identities, though for various reasons this entanglement has been insufficiently recognized. Citizenship and citizenly identity debates, for their part, have important implications for the way we think about music in relation to politics, identity, and scholarly practice. Stokes's particular claim is that ethnomusicology has for too long configured relationships between music, society, and reflective and critical practice in terms of identity paradigms. The rejection of these identity paradigms in recent years has taken the form of a post- or anti-humanism that is equally problematic. This book challenges the conventional understanding of citizenship in terms of nationalism and national identity though the examination of case studies from across Latin America, Africa, Asia, and Europe. In this way, this volume departs from an earlier ethnomusicology preoccupied with belonging and cultural participation in the nation-state. Citizenship-the fantasy, according to some definitions, of political community without outsiders-suggests, in this book, a different space in which one might configure such relations, one more satisfactorily, and energetically, oriented to questions about musical ecology, sustainability, democracy, and inclusivity.

The Arabesk Debate describes the way in which Turkish musicians discuss, dispute, and attribute meaning to their music. Martin Stokes examines the debate over 'Arabesk', a musical genre popular throughout Turkey. His book is an ethnographic study of urban music-making in Istanbul, focusing on the activities of professional musicians and their audiences in the city. Dr Stokes looks at the Arabesk debate in the context of state cultural politics, Islam, and the experience of urbanization in Turkey. Within this context he discusses the role of the media, music education, the technology of popular music-making, the construction of gender and the emotions through musical performance, and concepts of musicianship in Turkish society. In looking at the interplay between national cultural politics and urban music-making at a local level, this book challenges both `mass culture' theory and more general assumptions about the study of music in society.

The Arabesk Debate describes the way in which Turkish musicians discuss, dispute, and attribute meanings to their music. Martin Stokes examines the debate over 'Arabesk', a musical genre popular throughout Turkey. His book is an ethnographic study of urban music-making in Istanbul, focusing on the activities of professional musicians and their audiences in the city. Dr. Stokes looks at the Arabesk debate in the context of state cultural politics, Islam, and the experience of urbanization in Turkey. Within this context he discusses the role of the media, music education, the technology of popular music-making, the construction of gender and the emotions through musical performance, and concepts of musicianship in Turkish society. In looking at the interplay between national cultural politics and urban music-making at a local level, this book challenges both 'mass culture' theory and more general assumptions about the study of music in society.

- Directly relevant to the needs of teachers and researchers in music, musicology, ethnomusicology and social anthropology.This book examines the significance of music in the construction of identities and ethnicities, and suggests ways to understand music as social practice. The authors focus on the role of music in the construction of national and regional identities; the media and 'postmodern identity'; concepts of authenticity; aesthetics; meaning; performance; 'world music'; and the use of music as a focus for discursive evocations of 'place'. The chapters tackle a wide range of subjects including 16th century etiquette, Celtic music and Chopin. The volume will be of interest to social anthropologists, and those working in the fields of cultural studies, politics, gender studies, musicology and folklore.

At the heart of "The Republic of Love" are the voices of three musicians - queer nightclub star Zeki Muren, arabesk originator Orhan Gencebay, and pop diva Sezen Aksu - who collectively have dominated mass media in Turkey since the early 1950s. Their fame and ubiquity have made them national icons - but, Martin Stokes here contends, they do not represent the official version of Turkish identity propagated by anthems or flags; instead, they evoke a much more intimate and ambivalent conception of Turkishness. Using these three singers as a lens, Stokes examines Turkey's repressive politics and civil violence as well as its uncommonly vibrant public life, in which music, art, literature, sports, and journalism have flourished. However, Stokes's primary concern is how the music and careers of Muren, Gencebay, and Aksu can be understood in light of theories of cultural intimacy. In particular, he considers their contributions to the development of a Turkish concept of love, analyzing the ways these singers explore the private matters of intimacy, affection, and sentiment on the public stage.