Click on a thumbnail to go to Google Books.
|
Loading... Music and media in the Arab worldby Michael Frishkopf
No tags None No current Talk conversations about this book.  cairo360 | Apr 17, 2011 |  no reviews | add a review
Since the turn of the twentieth century the dramatic rise of mass media has profoundly transformed music practices in the Arab world. Music has adapted to successive forms of media dissemination--from phonograph cylinders to MP3s--each subjected to the political and economic forces of its particular era and region. Carried by mass media, the broader culture of Arab music has been thoroughly transformed as well. Simultaneously, mass mediated music has become a powerful social force. While parallel processes have unfolded worldwide, their implications in the Arabic-speaking world have thus far received little scholarly attention.This provocative volume features sixteen new essays examining these issues, especially televised music and the controversial new genre of the music video. Perceptive voices--both emerging and established--represent a wide variety of academic disciplines. Incisive essays by Egyptian critics display the textures of public Arabic discourse to an English readership. Authors address the key issues of contemporary Arab society--gender and sexuality, Islam, class, economy, power, and nation--as refracted through the culture of mediated music. Interconnected by a web of recurrent concepts, this collection transcends music to become an important resource for the study of contemporary Arab society and culture.Contributors: Wael Abdel Fattah, Yasser Abdel-Latif, Moataz Abdel Aziz, Tamim Al-Barghouti, Mounir Al Wassimi, Walter Armbrust, Elisabeth Cestor, Hani Darwish, Walid El Khachab, Abdel-Wahab Elmessiri, James Grippo, Patricia Kubala, Katherine Meizel, Zein Nassar, Ibrahim Saleh, Laith Ulaby. No library descriptions found. |
Current DiscussionsNonePopular covers
 Google Books — Loading...GenresMelvil Decimal System (DDC)781.54The arts Music General principles and musical forms Kinds of music Music for specific mediaLC ClassificationRatingAverage: No ratings.Is this you?Become a LibraryThing Author. |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Wikipedia in English (3)
Written by fifteen authors, and consisting of just as many diverse viewpoints, Music and Media in the Arab World is a ‘meta-discourse’ about the present state of music culture, as well as an attempt to map the changing domain of popular culture.
The book starts with examining the criticisms of new mediated music– conservatives assert its aesthetic inferiority and ‘ephemeral quality’ compared to the timelessness of classical Arabic music.
This approach is not new. It brings to mind the classic debate upheld by critic F. R. Leavis, where he entirely dismissed popular music. This is the point that Michael Frishkpof disagrees with and from where he derives his argument; ‘negativity is itself worthy of study.’
The first part of the book offers a historical overview of the music scene, starting from the establishment of the local radio and the golden era of prominent artists, until the domination of kitschy albums and the financially-appealing genre of the video clip.
The second, and more intriguing, aspect deals with the critique of the various categories of mediated music and low-budget productions. Attention is paid to religious judgment, bearing in mind that mediated music– even if low-brow– is still very influential.
The book then reflects on the meaning and content of video clips, discussing in detail several examples and amazing the reader with the serious implications underlying ‘the singing of the body.’
Music and Media in the Arab World is an entertaining exploration and commentary on today's music scene. For the more cultured reader, it holds appeal through the use of different theoretical approaches.
Postcolonial ideas feature prominently in the book, with frequent references to Benedict Anderson’s concept of 'imagined communities.' The Marxist approach is apparent in analyzing the historical conditions that produced the mediated music, in addition to a feminist reading of the image of women in musical culture.
Overall, the book is well written and has some interesting insights; yet the chapters do not flow smoothly. While some chapters are very engaging with a clear line of thought, others fail to bring home a clear point, and ultimately fail at maintaining the reader’s attention.
This book makes a worthy attempt at presenting how the banality of pop music came into being, while providing insight into the psyche of both the artist and the audience.
By May Ayyad - Writer for http://www.Cairo360.com