This work explores the literary and musical connections between Hispano-Arabic strophic songs of the muwashshaha-zajal genre, and their medieval Romance cognates, the ballata, cantiga, dansa, rondeau, villancico, and virelai. The authors begin with a general essay based on recent scholarship in Arabic, Romance, and ethnomusicological studies and then present a translation of Al-Tifashi's key 13th-century Arabic treatise on the musical tradition of Arab Spain. The appendices provide texts and translations of ten poems that modern scholarship attributes to or authenticates as part of the Hispano-Arabic song repertory, and musical notations of these texts as sung in Arab countries today. The authors suggest that the living tradition of Andalusian music surviving in the Arab world preserves a priceless echo, be it ever so distorted, of the lost tradition of Hispano-Arabic songs. They conclude that this tradition was a subtle blending of imported Oriental elements combined with others native to the Romance-singing Iberian Peninsula.

Sara Manasseh brings a significant, but less widely-known, Jewish repertoire and tradition to the attention of both the Jewish community (Ashkenazi, Sephardi, Oriental) and the wider global community. The book showcases thirty-one songs and includes English translations, complete Hebrew texts, transliterations and the music notation for each song. The accompanying downloadable resources include eighteen of the thirty-one songs, sung by Manasseh, accompanied by 'ud and percussion. The remaining thirteen songs are available separately on the album Treasures, performed by Rivers of Babylon, directed by Manasseh - : www.riversofbabylon.com. While in the past a book of songs, with Hebrew text only, was sufficient for bearers of the tradition, the present package represents a song collection for the twenty-first century, with greater resources to support the learning and maintenance of the tradition. Manasseh argues that the strong inter-relationship of Jewish and Arab traditions in this repertoire - linguistically and musically - is significant and provides an intercultural tool to promote communication, tolerance, understanding, harmony and respect. The singing of the Shbahoth (the Baghdadian Jewish term for 'Songs of Praise') has been a significant aspect of Jewish life in Iraq and continues to be valued by those in the Babylonian Jewish diaspora.

The civilisation of medieval Muslim Spain is perhaps the most brilliant and prosperous of its age and has been essential to the direction which civilisation in medieval Europe took. This volume is the first ever in any language to deal in a really comprehensive manner with all major aspects of Islamic civilisation in medieval Spain.

This book offers a comprehensive survey of the history and the development of Arab music and musical theory from its pre-Islamic roots until 1970, as well as a discussion of the major genres and forms practiced today, such as the Egyptian gīl, the Algerian raï and Palestinian hip hop; it also touches upon musical instruments and folk music.

The Bedouin, or 'desert dwellers', have a rich cultural heritage often expressed through music and poetry. Here, Moneera Al-Ghadeer provides us with the first comparative reading of women's oral poetry from Saudi Arabia. She examines women's lyrics of love, desire, mourning and grievance. We come to understand Bedouin mores and - most significantly - the unique description of a desert that is consistently held to be infinite, evocative, stimulating and an eternal freedom. As the first English translation and analysis of this poetry, "Desert Voices" is both a gesture to preserving the oral poetic tradition of Bedouin women and a radical critique addressing the exclusion of their poetry from current academic literary studies. The book provides invaluable material for reflection in the debates around oral culture and women's poetic composition while it translates, presents and critically examins a genre, which opens Arabic poetry and literature to contemporary theory and criticism.

The first part of this work includes all the known works of the twelfth-century Andalusi author Ibn Quzmān, most of which are zajal poems composed in the colloquial dialect of Andalus. They have been edited in a Romanized transliteration, and are accompanied by a facing-page English prose translation, along with notes and commentaries intended to elucidate matters relevant to each poem. In the second part of the work, sixteen chapters are devoted to analyzing specific poems from a literary perspective, in order to delve into their meaning and, thereby, explain the poet’s literary goals.

An online, Open Access version of this work is also available from Brill. A Literary History of Medicine by the Syrian physician Ibn Abī Uṣaybiʿah (d. 1270) is the earliest comprehensive history of medicine. It contains biographies of over 432 physicians, ranging from the ancient Greeks to the author’s contemporaries, describing their training and practice, often as court physicians, and listing their medical works; all this interlaced with poems and anecdotes. These volumes present the first complete and annotated translation along with a new edition of the Arabic text showing the stages in which the author composed the work. Introductory essays provide important background. The reader will find on these pages an Islamic society that worked closely with Christians and Jews, deeply committed to advancing knowledge and applying it to health and wellbeing.

Muslim women of all ages, economic status, educational backgrounds, sexual orientations, and from different parts of historically Muslim countries suffer the kinds of atrocities that violate common understandings of human rights and are normally denounced as criminal or pathological, yet these actions are sustained because they uphold some religious doctrine or some custom blessed by local traditions. Ironically, while instances of abuse meted out to women and even female children are routine, scholarship about Muslim women in the post 9/11 era has rarely focused attention on them, preferring to speak of women’s agency and resistance. Too few scholars are willing to tell the complicated, and at times harrowing, stories of Muslim women's lives. Women and Islam: Myths, Apologies, and the Limits of Feminist Critique radically rethinks the celebratory discourse constructed around Muslim women’s resistance. It shows instead the limits of such resistance and the restricted agency given women within Islamic societies. The book does not center on a single historical period. Rather, it is organized as a response to five questions that have been central to upholding the 'resistance discourse': What is the impact of the myth of al-Andalus on a feminist critique? What is the feminist utility of Edward Said’s theory of Orientalism? Is Islam compatible with a feminist agenda? To what extent can Islamic institutions, such as the veil, be liberating for women? Will the current Arab uprisings yield significant change for Muslim women? Through examination of these core questions, Bouachrine calls for a shift in the paradigm of discourse about feminism in the Muslim world.

How do we explain the globalized musical world in which we find ourselves in the early 21st century and how did we arrive here? This extraordinary book outlines an understanding of the human musical story as an intercultural—and ultimately a transcultural—one, with travel and trade as the primary conditions and catalysts for the ongoing development of musical styles. Starting with the cultural and civilizational precedents that gave rise to the first global trading and travel network in both directions across the Afro-Eurasian Old World Web in the form of the Silk Road, the book proceeds to the rise of al-Andalus and its influence on Europe through the Iberian peninsula before considering the fusion of European, African and indigenous musics that emerged in the Americas between c1500-1920 as part of Atlantic culture and the New World Web, as well as the concurrent acceleration of globalism in music through European empires and exoticism. The book concludes by examining the musical implications of our current Age of Instantaneous Exchange that technology permits, and by revisiting the question of interculturality and transculurality in music.

The Literature of Al-Andalus is an exploration of the culture of Iberia, present-day Spain and Portugal, during the period when it was an Islamic, mostly Arabic-speaking territory, from the eighth to the thirteenth century, and in the centuries following the Christian conquest when Arabic continued to be widely used. The volume embraces many other related spheres of Arabic culture including philosophy, art, architecture and music. It also extends the subject to other literatures - especially Hebrew and Romance literatures - that burgeoned alongside Arabic and created the distinctive hybrid culture of medieval Iberia. Edited by an Arabist, an Hebraist and a Romance scholar, with individual chapters compiled by a team of the world's leading experts of Islamic Iberia, Sicily and related cultures, this is a truly interdisciplinary and comparative work which offers a interesting approach to the field.