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Full-Text Articles in Arts and Humanities
The Sound Of Culture, The Structure Of Tradition Musicians' Work In Arab Detroit, Anne K. Rasmussen
The Sound Of Culture, The Structure Of Tradition Musicians' Work In Arab Detroit, Anne K. Rasmussen
Anne K. Rasmussen
Metropolitan Detroit is home to one of the largest, most diverse Arab communities outside the Middle East, yet the complex world Arabic-speaking immigrants have created there is barely visible on the landscape of ethnic America. In this volume, Nabeel Abraham and Andrew Shryock bring together the work of twenty-five contributors to create a richly detailed portrait of Arab Detroit. The book goes behind the bulletproof glass in Iraqi Chaldean liquor stores. It explores the role of women in a Sunni mosque and the place of nationalist politics in a Coptic church. It follows the careers of wedding singers, Arabic calligraphers,restaurant …
The Qur'Ân In Indonesian Daily Life: The Public Project Of Musical Oratory, Anne K. Rasmussen
The Qur'Ân In Indonesian Daily Life: The Public Project Of Musical Oratory, Anne K. Rasmussen
Anne K. Rasmussen
In Indonesia, amidst a plethora of unique Southeast Asian popular and folk music, Western music, and traditional gamelan styles, the recitation of the Qur'an pervades daily life as an archetype of Muslim authenticity. Removed by thousands of miles and hundreds of years from the source of Islam, Indonesians perform and experience the Qur'an in allegedly the same way as Muslims did during the time of the prophet, Muhammad. This article distills eight months of research as a student of professional male and female reciters of the Qur'an in Jakarta, Indonesia, the capital city of the country that is home to …
Theory And Practice At The 'Arabic Org': Digital Technology In Contemporary Arab Music Performance, Anne K. Rasmussen
Theory And Practice At The 'Arabic Org': Digital Technology In Contemporary Arab Music Performance, Anne K. Rasmussen
Anne K. Rasmussen
The synthesizer is ubiquitous on the Arab–American musical scene. Heard at every party, and on every recording, the synthesizer sings the lingua franca of international popular music. While the facade and the body of the synthesizer consist of neutral, slick, black plastic and metal technology, the soul of the instrument, when played by Arab–American musicians, is capable of a completely indigenous, if synthetic, musical idiom. In this article I draw on my experience of six performers of the Arabic ‘org’, commonly known today as ‘keyboards’, to present a sketch of a modern musical tradition.