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Iranian Music and Popular Entertainment

- From Motrebi to Losanjelesi and Beyond

Bag om Iranian Music and Popular Entertainment

In Iranian Music and Popular Entertainment, GJ Breyley and Sasan Fatemi examine the historically overlooked motrebi milieu, with its marginalized characters, from luti to gardan koloft and mashti, as well as the tenacity of motreb who continued their careers against all odds. They then turn to losanjelesi, the most pervasive form of Iranian popular music that developed as motrebi declined, and related musical forms in Iran and its diasporic popular cultural centre, Los Angeles. For the first time in English, the book makes available musical transcriptions, analysis and lyrics that illustrate the complexities of this history. As it presents the findings of the authors¿ years of ethnographic work with the history¿s protagonists, from senior motreb to pop-rock stars, the book reveals parallels between the decline of motrebi and the rise of `modernity.¿ In the twentieth century, the fate of Tehran¿s motrebi music was shaped by the social and urban polarization that ensued from the modern market economy, and losanjelesi would be similarly affected by transnational relations, revolution, war and migration.

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  • Sprog:
  • Engelsk
  • ISBN:
  • 9780415575126
  • Indbinding:
  • Hardback
  • Sideantal:
  • 202
  • Udgivet:
  • 26. november 2015
  • Størrelse:
  • 241x165x18 mm.
  • Vægt:
  • 480 g.
  • 8-11 hverdage.
  • 6. december 2024

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Beskrivelse af Iranian Music and Popular Entertainment

In Iranian Music and Popular Entertainment, GJ Breyley and Sasan Fatemi examine the historically overlooked motrebi milieu, with its marginalized characters, from luti to gardan koloft and mashti, as well as the tenacity of motreb who continued their careers against all odds. They then turn to losanjelesi, the most pervasive form of Iranian popular music that developed as motrebi declined, and related musical forms in Iran and its diasporic popular cultural centre, Los Angeles. For the first time in English, the book makes available musical transcriptions, analysis and lyrics that illustrate the complexities of this history. As it presents the findings of the authors¿ years of ethnographic work with the history¿s protagonists, from senior motreb to pop-rock stars, the book reveals parallels between the decline of motrebi and the rise of `modernity.¿ In the twentieth century, the fate of Tehran¿s motrebi music was shaped by the social and urban polarization that ensued from the modern market economy, and losanjelesi would be similarly affected by transnational relations, revolution, war and migration.

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