Bøger af Rachel Beckles Willson

"According to a literary tradition of Iraq, the origin of the oud lies in the grief of Lamak, a descendent of Cain, son of Adam. When his 5-year-old son died, Lamak hung the boy's limp body on a tree, and as time passed, he resolved to build a musical instrument from the remaining bones. He then played it, wept, and sang the first lament; his daughter Sila became an instrument maker. So the oud is a beautiful pear-shaped box, with neck and strings, that makes music, but it can also be a link to the world of storytelling that brings new voices into life. Today the oud is one of the most important instruments in music cultures of the Middle East and North Africa, and while associated mainly with the Arab world, it is also played in Iran, Turkey and Greece. More recently it has spread into East Africa, numerous countries of Europe, Australia, the Americas, China and Japan. This book explores the oud's history and increasingly global lives today. It explores its varied construction over time and place, delves into its place in literature, and reveals its widespread repertoire and immensely diverse players."--

Drawing on key elements from musical thought in inter-war Hungary, this 2007 book provides a unique perspective on the nation's musical heritage during the Cold War. Although Ligeti became part of the Western avant-garde after he left Hungary in 1956, archival sources illuminate his ongoing contact with Hungarian musicians, and their shifting perspective on his work.

Orientalism and Musical Mission presents a new way of understanding music's connections with imperialism, drawing on new archive sources and interviews and using the lens of 'mission'. Rachel Beckles Willson demonstrates how institutions such as churches, schools, radio stations and governments, influenced by missions from Europe and North America since the mid-nineteenth century, have consistently claimed that music provides a way of understanding and reforming Arab civilians in Palestine. Beckles Willson discusses the phenomenon not only in religious and developmental aid circles where it has had strong currency, but also in broader political contexts. Plotting a historical trajectory from the late Ottoman and British Mandate eras to the present time, the book sheds new light on relations between Europe, the USA and the Palestinians, and creates space for a neglected Palestinian music history.