Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright

Cover
Title
Copyright
Contents
List of figures
List of tables
List of music examples
Preface
List of contributors
Introduction – tuning the past: the work of Owen Wright
Part I Ottoman legacies
	1 New light on Cantemir
	2 Towards a new theory of historical change in the Ottoman instrumental repertoire
		Introduction
		The Kevseri Mecmuası
		The nineteenth century
		Melodic density: regular and irregular rates of change
		Formal structure and tempo retardation
		Rhythmic augmentation and melodic density
		Conclusion
	3 Not just any usul: semai in pre-nineteenth-century performance practice
		An usul of many kinds
		Multiple versions of melodies
		Pre-nineteenth-century descriptions
		Recent evidence
		Was semai an “ovoid” rhythm?
		Conclusion
	4 Itri’s “Nühüft Sakil” in the context of Sakil peşrevs in the seventeenth century
		Issues of makam and usul: nühüft
		Issues of makam and usul: sakil
		Conclusion
	5 Giambattista Toderini and the “Musica Turchesca”
		The Venetian context
		European travellers and their observations of Ottoman music
		Toderini’s chapter on music
		On the musical instruments played by the Turks
		Essay in Turkish music
	6 At the House of Kemal: private musical assemblies in Istanbul from the late Ottoman Empire to the Turkish Republic
		The meclis in the Ottoman urban context
		Bureaucratic and other legacies
		Sensorial assemblages
		Conclusion: Republican musical legacies
	7 Kâr-ı nev: elongation and elaboration in recordings of a Turkish classic
		The kâr
		The kâr-ı nev
		İsmail Dede Efendi
		A new type of kâr
		Münir Nurettin Selçuk
		Kâr-ı nev in concerts
		Kâr-ı nev on recordings
		Elongation and elaboration
		Versions and editions
		Owen Wright
	8 Measuring intervals between European and “Eastern” musics in the 1920s: the curious case of the panharmonion or “Greek organ”
		Between the Church and the theatre
		Between practice and theory, the oral and the written
		Between East and West
		Between Athens and Istanbul: an enlarged vision of Greekness
		The cosmopolitan vision of Eva Palmer Sikelianos
		Epilogue
Part II Historical and theoretical themes in the music of the Islamic world
	9 “Words without songs”: the social history of Hindustani song collections in India’s Muslim courts c.1770–1830
		The music connoisseur’s collection
		A colonial repertoire?
		The “authoritative” Mughal repertoire
		Conclusion
	10 The music of the Timurids and its legacy in Afghanistan
		The Timurid court of Herat
		Transmission to neighbouring regions
		Khorasani music in eighteenth-century Afghanistan
		Inputs from Hindustan
		Khorasani music in Herat in the twentieth century
		Conclusions
	11 Theory and practice in contemporary Central Asian maqām traditions: the Uyghur On Ikki Muqam and the Kashmiri Sūfyāna Musīqī
		Contemporary repertoire
		Central Asian theoretical traditions
		Processes of canonization
		Cosmopolitan courts and Sufi shrines
		Ashiq and the On Ikki Muqam
		Musical style and instrumentation
		Conclusion
	12 The terminology of vocal performance in Iranian Khorasan
		Announcing, eliciting and describing vocal actions
		Calls and responses
		Sources of sounds and voices
		Combinations of noun and verb
		Dāstān and shabih
	13 Whispering to God: monājāt, a sung prayer in Iranian Khorasan
		Monājāt as a genre of supplicatory prayer
		Khorasan as a centre of Sufism
		Monājāt in eastern and northern Khorasan
		Transmission
		Poetic forms and melodic types (maqām or āhang )
		Examples of monājāt from Khorasan
		Conclusion
	14 Between formal structure and performance practice: on the Baghdadi secular cycles
		Iraqi Maqams in the structure of the secular cycle
		Iraqi cycles versus Arab Middle Eastern cycles
		The structural model of the Iraqi secular cycles, fuṣūl al-maqāmāt al-irāqīyya
		The secular Great Cycle fuṣul al-maqāmāt al-irāqīyya as a point of reference
		The five medium cycles, faṣils
		The sub-cycle as model
		Evolution of the secular cycles towards free cycles
		The disintegration of the traditional cycles
		On the function of the cycle and its genres
		The content of the cycles: central and associated forms
		Instruments and instrumental genres
		Cycles and performance practice
		Conclusion
	15 Al-Fārābī’s polychord: a re-exposition of Ptolemy’s kanōn as a didactic instrument for the tone system
	Postlude: interview with Owen Wright
Owen Wright: full bibliography
Glossary
Index