Hardcover: 352 pages
Publisher: Indiana University Press (January 1, 1997)
Language: English
ISBN-10: 0253332060
ISBN-13: 978-0253332066
Product Dimensions: 6.5 x 1.2 x 9.5 inches
Shipping Weight: 1.5 pounds
Average Customer Review: 4.7 out of 5 stars See all reviews (6 customer reviews)
Best Sellers Rank: #1,751,250 in Books (See Top 100 in Books) #12 in Books > Arts & Photography > Music > Musical Genres > Ethnic & International > World Beat #402 in Books > Arts & Photography > Music > Musical Genres > Ethnic & International > Ethnic #705 in Books > Arts & Photography > Music > Musical Genres > Ethnic & International > Ethnomusicology
Six years ago, I wrote my first review for , of Richard N. Frye's "Bukhara: The Medieval Achievement". Frye's work, concentrating mostly on the 10th and 11th centuries, described in detail how Turkic-speaking nomads combined with Iranian city dwellers and Arab bringers of a new religion to create a new synthesis in Islam in Central Asia, particularly in the city of Bukhara. That syncretic Islam later became most instrumental in the development of the Muslim faith in the Indian subcontinent. Levin's THE HUNDRED THOUSAND FOOLS OF GOD mainly describes the condition of music and musicians in the 1990s in the modern republics of Uzbekistan and Tajikistan. That same Richard N. Frye provides a strong endorsement on the back cover. I too find that this volume is a worthy successor in the on-going "project" of bringing Central Asian history and culture before Western eyes. The musical world of Central Asia still involves synthesis and syncretism---between the West and tradition, between new conservatism and older tolerance, between Soviet atheism and local spirituality, between Islam and older religions which we might label shamanistic, and between so-called ethnic groups like Uzbeks and Tajiks.Levin travelled around the region with a musical companion, Otanazar Matyakubov, who provided endless contacts and insights. Together they interviewed and listened to all the varied performers of Central Asian music, from a female pop singer to humble performers of classical styles, from healers in remote villages who used music in their rituals to performers at schmaltzy Jewish weddings in the transplanted Bukharan Jewish community in Queens, New York.
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