Free Music In The Mind: The Concepts Of Music And Musician In Afghanistan Ebooks To Download
Music is central to many important events in the Islamic world. Yet many members of Islamic society who follow the teachings of the Qur'an hold music and musicians in very little regard. Hiromi Lorraine Sakata examined this paradox during her research in Afghanistan in the late 1960s and early 1970s, and produced this insightful book. Through case studies in the city of Herat (western Afghanistan), the remote provincial capital Faizabad (northeastern Afghanistan), and the village of Khadir (central Afghanistan), Sakata discusses traditional Islamic concepts of music and musician and interprets modern attitudes towards them both. She pays particular attention to the term musiqi (which can be generally translated as "secular music") and how misinterpretations of this construct may be the root of Western misunderstandings about music and musicians in Muslim societies. Sakata collaborated with Smithsonian Folkways Recordings to produce a CD of Afghan music, which is included with the book.
Hardcover: 246 pages
Publisher: Smithsonian Institution Scholarly Press (December 17, 2002)
Language: English
ISBN-10: 1588340902
ISBN-13: 978-1588340900
Product Dimensions: 6.3 x 1 x 9.3 inches
Shipping Weight: 1.3 pounds (View shipping rates and policies)
Average Customer Review: 3.0 out of 5 stars See all reviews (1 customer review)
Best Sellers Rank: #643,643 in Books (See Top 100 in Books) #4 in Books > Arts & Photography > Music > Musical Genres > Religious & Sacred Music > Muslim #229 in Books > Arts & Photography > Music > Musical Genres > Ethnic & International > Ethnomusicology #2124 in Books > Arts & Photography > Music > History & Criticism
Around the same time in the late 1960s and early 1970s, before Afghanistan entered another extended period of war, two ethnomusicologists independently and in different regions came to this land to study its various musical traditions among differing ethnicities. Afghanistan is a nation created by a European committee drawing boundries that ignored ethnic concentrations, and indeed the map shows a narrow extension just to buffer and separate the Russian influence from the British raj. Mark Slobin's book, which covers his work chiefly in the north plus runs into the east and Herat in the west, is available free on his Wesleyan University web site and he has a 2-CD set of musical examples on Traditional Crossroads. The author of this book, Hiromi Lorraine Sakata, made her studies in Herat, in northeast Faizabad, and in central Khadir. She includes a CD with many brief examples and excerpts of the music she encountered. Sakata's book, frankly, is dry and exceedingly detailed in its comparisons. It focuses on two aspects: the definitions and differing status of a musician (amateur, semi-professional, and professional) and the forms of folk music. Neither ethnomusicologist had access to Sufis and their particular musical traditions and practices. Another feature of the book is in the appendix: illustrations and descriptions of the musical instruments. My chief complaint about this scholarly dissertation is that it is lifeless and devoid of emotion. Still, the book does contribute to our understanding of this region's peoples and the function and nature of its music. It is a time capsule, however, and how 21st-century music technology has changed Afghanistan is yet to be determined.
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