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The word motreb finds its roots in the Arabic verb taraba, meaning
'to make happy.' Originally denoting all musicians in Iran, motrebi
came to be associated, pejoratively, with the cheerful vulgarity of
the lowbrow entertainer. In Iranian Music and Popular
Entertainment, GJ Breyley and Sasan Fatemi examine the historically
overlooked motrebi milieu, with its marginalized characters, from
luti to gardan koloft and mashti, as well as the tenacity of motreb
who continued their careers against all odds. They then turn to
losanjelesi, the most pervasive form of Iranian popular music that
developed as motrebi declined, and related musical forms in Iran
and its diasporic popular cultural centre, Los Angeles. For the
first time in English, the book makes available musical
transcriptions, analysis and lyrics that illustrate the
complexities of this history. As it presents the findings of the
authors' years of ethnographic work with the history's
protagonists, from senior motreb to pop-rock stars, the book
reveals parallels between the decline of motrebi and the rise of
'modernity.' In the twentieth century, the fate of Tehran's motrebi
music was shaped by the social and urban polarization that ensued
from the modern market economy, and losanjelesi would be similarly
affected by transnational relations, revolution, war and migration.
Through its detailed and informed examination of Iranian popular
music, this study reveals much about the values and anxieties of
Iranian society, and is a valuable resource for students and
scholars of Iranian society and history.
The word motreb finds its roots in the Arabic verb taraba, meaning
'to make happy.' Originally denoting all musicians in Iran, motrebi
came to be associated, pejoratively, with the cheerful vulgarity of
the lowbrow entertainer. In Iranian Music and Popular
Entertainment, GJ Breyley and Sasan Fatemi examine the historically
overlooked motrebi milieu, with its marginalized characters, from
luti to gardan koloft and mashti, as well as the tenacity of motreb
who continued their careers against all odds. They then turn to
losanjelesi, the most pervasive form of Iranian popular music that
developed as motrebi declined, and related musical forms in Iran
and its diasporic popular cultural centre, Los Angeles. For the
first time in English, the book makes available musical
transcriptions, analysis and lyrics that illustrate the
complexities of this history. As it presents the findings of the
authors' years of ethnographic work with the history's
protagonists, from senior motreb to pop-rock stars, the book
reveals parallels between the decline of motrebi and the rise of
'modernity.' In the twentieth century, the fate of Tehran's motrebi
music was shaped by the social and urban polarization that ensued
from the modern market economy, and losanjelesi would be similarly
affected by transnational relations, revolution, war and migration.
Through its detailed and informed examination of Iranian popular
music, this study reveals much about the values and anxieties of
Iranian society, and is a valuable resource for students and
scholars of Iranian society and history.
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