Search Results for musician

... a master and an apprentice. Drawing on ethnographic fieldwork conducted in Istanbul (during 2003 – 5), I examine contemporary interpretations of meşk as performances of history and memory directly engaged with musicians’ situatedness. Conflicting understandings of meşk within the distinctive discursive...

... that Turkish Jewish religious musicians participated with their non-Jewish counterparts in sustaining at-risk, albeit changing, Ottoman cultural forms in the face of state and commercial cultural interests. © 2011 by Duke University Press 2011...

... Indian style. Eisenberg argues that Swahili musicians and audiences derive pleasure and meaning from Indian taarab 's paradoxical presentation of Indian sounds as Swahili expressions, and that this positions the genre as a vehicle for public reflection on Swahili ethnicity. Focusing on the voice...

... the blessings of the ancestor-saints. Sidi women, as saints or ritual musicians, specialists and participants, play a critical role in this process. [email protected] Copyright © 2024 by Duke University Press 2024 20. For more on such clan names, see Alpers, “Recollecting Africa,” 92...

... in a variety of inclusive Singer, discusses two legacies: the practice of urban locations where Jewish and non- Jewish large- scale elite philanthropy and the physical musicians met, made music, and exchanged remains of Ottoman...

... of works on the greater foundation of musical cre- Medetov, Mukhamedzhan Seralin, Sabit ation. Only then can we expect the writing of Mukanov, and Alma Urazbaeva); Kazakh South Asia, Kazakh symphonies and operas.”22 The report professional musicians (Akimgerei...

... of readers and listeners, from professional musicians to courtly patron-connoisseurs; they could be read as works of poetry or as digests of technical knowledge; and they could be transmuted into different media. 7 Sometimes, the Sangitadarpana appears as a digest of highly technical data, while...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... Identity in Cultural Production (2001), edited computerized music has received among Ghanaians by Maria Eriksson Baaz and Mai Palmberg, this vol- (it puts local musicians out of work, is a cheap imi- ume is similarly centered on exploring the ways Af- tation...

... . Dihlawi Sayyid Yusuf Bukhari . Yaran-i raftah: Shakhsi khakon ka majmu’ah (Departed Friends: A Collection of Personal Sketches) . Karachi, Pakistan : Maktabah-i Uslub , 1987 . Schofield Katherine Butler . “ Chief Musicians to the Mughal Emperors: The Delhi Kalawant Biraderi, Seventeenth...

... and a col- Botswana, and was there until the early 1980s. In lection of short stories and has written a musical op- 1977 I attended the Festival of Arts and Culture era, “Milestones”, in collaboration with the jazz (FESTAC) in Nigeria, which was a very memorable musician Hugh Masekela.3 He...

... of sound and voice helps us trace the specific ways in which Pentecostalism attempts to “go public” and the kind of public it calls into being. In order to understand this—Why was it unacceptable for Pentecostal musicians to perform “secular” music but acceptable to Catholics?—we need to consider both...

...- class, linguistic, and ethnic lines. The hetero- tionalism. In contrast, the transnational reach geneity and transnationality of the jazz scene of the music via touring musicians, radio, and raised the question of concern over the direc- music expands the narrative to include loca- tion...

..., to the Be'er Ya'acov transit camp, recalled to me the day he walked into Jaka's home as the latter was listening to a record of the Indian musician Bismillah Khan. Bar—who, with the band he led, ha-Brera ha-Tiv‘it, created in the decades that followed profound combinations of North African and South Asian...