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Published online by Cambridge University Press: 12 October 2012
In the present climate of political and social change in North Africa, studying music offers exciting new possibilities for enhancing our understanding of the region. Scholars in ethnomusicology and related disciplines are conducting archival and ethnographic research on music, often integrating sound and video recordings, transcriptions, and musical and textual analysis into their studies. Their work highlights how music not only reflects cultural change but also predicts and creates it.
1 Davis, Ruth F., Maʾlūf: Reflections on the Arab Andalusian Music of Tunisia (Lanham, Md.: Scarecrow Press, 2004)Google Scholar; Jonathan Glasser, “Genealogies of al-Andalus: Music and Patrimony in the Modern Maghreb” (PhD diss., University of Michigan, 2008); Kristy Riggs, “On Colonial Textuality and Difference: Musical Encounters with French Colonialism in Nineteenth-Century Algeria” (PhD diss., Columbia University, 2012).
2 Examples include L. JaFran Jones, “The ʿIsawiya of Tunisia and Their Music” (PhD diss., University of Washington, 1977); and Langlois, Tony, “Heard but Not Seen: Music among the Aissawa Women of Oujda, Morocco,” Music and Anthropology: Journal of Musical Anthropology of the Mediterranean 4 (1999)Google Scholar, http://www.muspe.unibo.it/period/ma/index/number4/langlois/lang0.htm (accessed 17 March 2006).
3 al-Faruqi, Lois Ibsen, “Music, Musicians, and Muslim Law,” Asian Music 17 (1985): 3–36CrossRefGoogle Scholar.
4 Kapchan, Deborah A., “Moroccan Female Performers Defining the Social Body,” The Journal of American Folklore 107, no. 423 (1994): 82–105CrossRefGoogle Scholar; Schade-Poulsen, Marc, Men and Popular Music in Algeria: The Social Significance of Rai (Austin, Tex.: University of Texas Press, 1999)Google Scholar; Kapchan, Deborah, “Nashat: The Gender of Musical Celebration in Morocco,” in Music and Gender: Perspectives from the Mediterranean, ed. Magrini, Tullia (Chicago: University of Chicago Press, 2003), 251–66Google Scholar; Alessandra Ciucci, “Poems of Honor, Voices of Shame: The ʿAiṭa and the Moroccan Shikhat” (PhD diss., The Graduate Center, CUNY, 2007); Alyson E. Jones, “Playing Out: Women Instrumentalists and Women's Ensembles in Contemporary Tunisia” (PhD diss., University of Michigan, 2010).
5 Goodman, Jane E., Berber Culture on the World Stage: From Village to Video (Bloomington and Indianapolis, Ind.: Indiana University Press, 2005)Google Scholar.
6 Jankowsky, Richard C., Stambeli: Music, Trance, and Alterity in Tunisia (Chicago: University of Chicago Press, 2010)CrossRefGoogle Scholar.
7 Davis, Ruth, “Jews, Women and the Power to Be Heard: Charting the Early Tunisian Ughniyya to the Present Day,” in Music and the Play of Power in North Africa, Middle East, and Central Asia, ed. Nooshin, Laudan (Farnham: Ashgate, 2009), 187–206Google Scholar. See also Jonathan Glasser's article in this special issue of IJMES.
8 Schuyler, Philip, “Joujouka/jajouka/zahjoukah: Moroccan Music and Euro-American Imagination,” in Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond, ed. Armbrust, Walter (Berkeley, Calif.: University of California Press, 2000), 146–60Google Scholar; Langlois, Tony, “The Local and the Global in North African Popular Music,” Popular Music 15 (1996): 259–73CrossRefGoogle Scholar; Kapchan, Deborah, Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace (Middletown, Conn.: Wesleyan University Press, 2007)Google Scholar; Brian Karl, “Across a Divide: Mediations of Contemporary Popular Music in Morocco and Spain” (PhD diss., Columbia University, 2012).
9 Stapley, Kathryn, “Mizwid: An Urban Music with Rural Roots,” Ethnic and Migration Studies 32 (2006): 243–56CrossRefGoogle Scholar; Tony Langlois, “Music and Politics in North Africa,” in Nooshin, Music and the Play of Power, 207–27.