This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright’s work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers’ reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright’s major publications. The central chapters cover the geographical regions and historical periods addressed in Wright’s publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright’s own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.

The book, Economic Empowerment of Women in the Islamic World, discusses the economic, social, and political rights and status of women in Islam, which is theoretically given by the Islamic Jurisprudence (Shariah law). The chapters in this volume will address historical practices in comparison to the status of women in the contemporary Muslim world. Men and women in Islam, regardless of their age, social class, and education, are equal as citizens and individuals, but not identical in their rights and responsibilities. It can be observed from Islamic history that in the early age of Islam, women were given full confidence, trust, and high responsibilities in leadership, educational guidance, and decision-making.This volume will try to clarify the confusion in the status of the women in Islam that is presented by the media, as it is assumed that theoretical Islamic empowerment of women bears little relation to the real conditions of women in modern Muslim societies. It has been widely claimed in the media that Muslim women suffer more than men in Muslim societies and communities in terms of insecurity, domestic abuse, and low access to education and medical care. It is also stated in the press and media that absence of good governance also results in gender inequality and violation of the rights of Muslim women.This volume also aims to provide the solutions for the empowerment of women in the Islamic world. We assumed that without good governance, the status of women is not likely to improve. Muslim women have the potential to play a fundamental role in curbing corruption, social ills, violence, and crime in the Muslim world. This volume will make the case that in order to achieve stability and prosperity, the government must ensure a platform for women to participate in decision-making and hence benefit from the rights they are accorded in Islam.By covering a range of perspectives on the economic lives of Muslim women around the world, it hopes to shed light on the problems faced and to offer possible solutions to the empowerment of women in the Islamic world.

China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the internet come into dialogue with local embodied practices. Synthesized together, these practicies create new forms that facilitate powerful, affective experiences of faith.

An alternate approach to Islamic art emphasizing literary over historical contexts and reception over production in visual arts and music.

Investigating Musical Performance considers the wide range of perspectives on musical performance made tangible by the cross-disciplinary studies of the last decades and encourages a comparison and revision of theoretical and analytical paradigms. The chapters present different approaches to this multi-layered phenomenon, including the results of significant research projects. The complex nature of musical performance is revealed within each section which either suggests aspects of dialogue and contiguity or discusses divergences between theoretical models and perspectives. Part I elaborates on the history, current trends and crucial aspects of the study of musical performance; Part II is devoted to the development of theoretical models, highlighting sharply distinguished positions; Part III explores the relationship between sign and sound in score-based performances; finally, the focus of Part IV centres on gesture considered within different traditions of musicmaking. Three extra chapters by the editors complement Parts I and III and can be accessed via the online Routledge Music Research Portal. The volume shows actual and possible connections between topics, problems, analytical methods and theories, thereby reflecting the wealth of stimuli offered by research on the musical cultures of our times.

In the late 1970s Islam regained its force by generating novel forms of piety and forging new paths in politics throughout the world, including China. The Islamic revival in China, which came to fruition in the 2000s and the 2010s, prompted increases in government suppression but also intriguing resonances with the broader Muslim world—from influential theoretical and political contestations over Muslim women’s status, the popularization of mass media and the appearance of new patterns of consumption, to increases in transnational Muslim migration. Although China does not belong to the “Islamic world” as it is conventionally understood, China’s Muslims have strengthened and expanded their global connections and impact. Such significant shifts in Chinese Muslim life have received scant scholarly attention until now. With contributions from a wide variety of scholars—all sharing a commitment to the value of the ethnographic approach—this volume provides the first comprehensive account of China’s Islamic revival since the 1980s as the country struggled to recover from the wreckage of the Cultural Revolution. The authors show the multifarious nature of China’s Islam revival, which defies any reductive portrayal that paints it as a unified development motivated by a common ideology, and demonstrate how it was embedded in China’s broader economic transition. Most importantly, they trace the historical genealogies and sociopolitical conditions that undergird the crackdown on Muslim life across China, confronting head-on the difficulties of working with Muslims—Uyghur Muslims in particular—at a time of intense religious oppression, intellectual censorship, and intrusive surveillance technology. With chapters on both Hui and Uyghur Muslims, this book also traverses boundaries that often separate studies of these two groups, and illustrates with great clarity the value of disciplinary and methodological border-crossing. As such, Ethnographies of Islam in China is essential reading for those interested in Islam’s complexity in contemporary China and its broader relevance to the Muslim world and the changing nature of Chinese society seen through the prism of religion.

Examines the socio-cultural history of the regions where Islam took hold between the 7th and 16th century. This two-volume work contains 700 alphabetically arranged entries, and provides a portrait of Islamic civilization. It is of use in understanding the roots of Islamic society as well to explore the culture of medieval civilization.

What makes hundreds of listeners cheer ecstatically at the same instant during a live concert by Egyptian diva Umm Kulthum? What is the unspoken language behind a taqsim (traditional instrumental improvisation) that performers and listeners implicitly know? How can Arabic music be so rich and diverse without resorting to harmony? Why is it so challenging to transcribe Arabic music from a recording? Inside Arabic Music answers these and many other questions from the perspective of two "insiders" to the practice of Arabic music, by documenting a performance culture and a know-how that is largely passed on orally. Arabic music has spread across the globe, influencing music from Greece all the way to India in the mid-20th century through radio and musical cinema, and global popular culture through Raqs Sharqi, known as "Bellydance" in the West. Yet despite its popularity and influence, Arabic music, and the maqam scale system at its heart, remain widely misunderstood. Inside Arabic Music de-mystifies maqam with an approach that draws theory directly from practice, and presents theoretical insights that will be useful to practitioners, from the beginner to the expert - as well as those interested in the related Persian, Central Asian, and Turkish makam traditions. Inside Arabic Music's discussion of maqam and improvisation widens general understanding of music as well, by bringing in ideas from Saussurean linguistics, network theory, and Lakoff and Johnson's theory of cognition as metaphor, with an approach parallel to Gjerdingen's analysis of Galant-period music - offering a lens into the deeper relationships among music, culture, and human community.

A double edition in English and Arabic about the art of ornamentations in the performance of the Arabic qanun (psaltery), based on George Sawa's experience as an artist and performer, as well as the experience of his teachers and their teachers.

Ethnomusicology and its Intimacies situates intimacy, a concept that encompasses a wide range of often informal social practices and processes for building closeness and relationality, within the ethnomusicological study of music and sound. These scholarly essays reflect on a range of interactions between individuals and communities that deepen connections and associations, and which may be played out relatively briefly or nurtured over time. Three major sections on Performance, Auto/biographical Strategies, and Film are each prefaced by an interview with a scholar or practitioner with close knowledge of the subject that links the chapters in that section. Often drawing directly on fieldwork experience in a variety of contexts, authors consider how concepts of intimacy can illuminate the ethnographic study of music, addressing questions such as: how can we understand ethnomusicological and ethnographic research and performance as processes of musically mediated intimacy? How are the longstanding relationships we develop with others particularly intimated by and through musicking? How do we understand the musically intimate relationships of others and how do these inflect our own musical intimacies? How does music represent, inscribe, constrain, or provoke social or personal intimacies in particular contexts? The volume will appeal to all scholars with interests in music and how it is used to construct relationships in different contexts around the world.