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Music and Social Institutions: al-Maʾlūf and al-Āla

Published online by Cambridge University Press:  12 October 2012

Carl Davila*
Affiliation:
Department of History, College at Brockport, State University of New York, Brockport, N.Y.; e-mail: [email protected]

Extract

Music is not only an art form defined by certain formal elements, such as rhythmic and melodic modes. It is also a cultural form that implies significant social interaction. Music naturally evokes deeply felt emotions and can touch upon important social identities, because it helps people to experience feelings and express insights into their own lives. Moreover, the fact that it is performed situates any given musical genre within a specific set of sociocultural frames. Unpacking the social, economic, and political contexts surrounding musical genres can deepen our understanding of larger processes at work. An obvious North African example is Rai music, whose explosion in popularity in the 1980s underscored very important social and economic transformations taking place in Algeria and among migrant Algerian communities in France.

Type
Roundtable
Copyright
Copyright © Cambridge University Press 2012

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References

NOTES

1 On the role of Rai in Algerian youth identity, see Daoudi, Bouziane and Miliani, Hadj, L'aventure du rai: Musique et société (Paris: Editions du Seuil, 1996)Google Scholar; on Rai as a contested vehicle for gendered Maghribi identities, see Schade-Poulsen, Marc, The Social Significance of Rai: Men and Popular Music in Algeria (Austin, Tex.: University of Texas Press, 1999)Google Scholar; and DeAngelis, Angelica Maria, “Moi aussi, je suis musulman: Rai, Islam, and Masculinity in Maghrebi Transnational Identity,” Literature and the Sacred, Alif: Journal of Comparative Poetics 23 (2003): 276308Google Scholar.

2 See Davila, Carl, Al-Āla: History, Society and Text (Wiesbaden: Reichert Verlag, forthcoming)Google Scholar, esp. Introduction and chap. 1.

3 Davis, Ruth, Maʾlūf: Reflections on the Arab-Andalusian Music of Tunisia (Lanham, Md.: Scarecrow Press, 2004)Google Scholar.