‘A song, so old and yet still famous’ is a Malay expression of admiration for an exotic singing style, a musical contemplation on the beauty of nature, God, and love. The ghazal exists in manifold cultures all over Asia, Africa, and Southern Europe, and is intimately connected to Islam and its periphery. In each region, ghazals have been shaped into other expressions using imported features and transforming them into ‘local art’. In the Malay world, ghazals come in various shapes and with different meanings. ‘The song, so old’ is the song that came before the proliferation of mass media. The first ghazals that were heard in the Malay world might have been those ghazals performed by Hindustani musicians traveling in Southeast Asia. However, later on, the ghazal’s development was additionally triggered by mass media, with technological progress enhancing change in urban entertainment and introducing new sources of further adaptations. In this context, the second half line of the lyrics mentioned, ‘and yet still famous’, means that despite being old, the song is highly regarded as an art in itself. Malay ghazals are still attractive and musically demanding. They were traditionally not performed for mass appeal, but, rather, for a small knowledgeable audience that valued musical refinement and taste.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition

With entries on topics ranging from non-Western instruments to distinctive rhythms of music from various countries, this one-stop resource on global music also promotes appreciation of other countries and cultural groups. A perfect resource for students and music enthusiasts alike, this expansive three-volume set provides readers with multidisciplinary perspectives on the music of countries and ethnic groups from around the globe. Students will find Music around the World: A Global Encyclopedia accessible and useful in their research, not only for music history and music appreciation classes but also for geography, social studies, language studies, and anthropology. Additionally, general readers will find the books appealing and an invaluable general reference on world music. The volumes cover all world regions, including the Americas, Europe, Africa and the Middle East, and Asia and the Pacific, promoting a geographic understanding and appreciation of global music. Entries are arranged alphabetically. A preface explains the scope of the set as well as how to use the encyclopedia, followed by a brief history of traditional music and important current influences of music in each particular world region.

This book explores the ways in which Muslim communities across the Indian Ocean world produced and shaped Islamic law and its texts, ideas and practices in their local, regional, imperial, national and transregional contexts. With a focus on the production and transmission of Islamic law in the Indian Ocean, the chapters in this book draw from and add to recent discourses on the legal histories and anthropologies of the Indian Ocean rim as well as to the conversations on global Islamic circulations. By doing so, this book argues for the importance of Islamic legal thoughts and practices of the so-called "peripheries" to the core and kernel of Islamic traditions and the urgency of addressing their long-existing role in the making of the historical and human experience of the religion. Islamic law was and is not merely brought to, but also produced in the Indian Ocean world through constant and critical engagements. The book takes a long-term and transregional perspective for a better understanding of the ways in which the oceanic Muslims have historically developed their religious, juridical and intellectual traditions and continue to shape their lives within the frameworks of their religion. Transregional and transdisciplinary in its approach, this book will be of interest to scholars of Islamic Studies, Indian Ocean Studies, Legal History and Legal Anthropology, Area Studies of South and Southeast Asia and East Africa.

This volume comprises fifteen selected papers in five chapters from the 27th ICTM Colloquium on Drums and Drum Ensembles along the Great Silk Road. It testifies to how human cultures are never created in seclusion. The richness of drums and drum ensembles, including their repertoires, are also connected to long-term exchanges in military affairs, trades, and religions of various peoples. Despite the obvious prevalence of drums among all peoples around the world, their understanding and their repertoires vary due to different contexts. The studies of music originating on the Silk Road presented in this volume pay particular attention to the multiple flows of knowledge between numerous distinctive regions in the narrower geographical and temporal scope.

This edited volume is the result of the 8th Symposium of the ICTM Study Group Maqām in Sarajevo, Bosnia and Herzegovina, which brought together scholars from Germany, Turkey, Tunisia, Serbia, Malaysia, Finland, Slovenia and Bosnia and Herzegovina. In order to open up minds and to widen the horizons of discussions on historical traces and present music practices related to the maqām principle in Southern Europe and neighbouring regions, the general topic of the symposium, namely “Maqām: Historical Traces and Present Practice in South European Music Traditions”, was substructured into three special topics: “Between maqām and mode: the intermediate realms”; “Historical traces of Ottoman music in the Mediterranean Region”; and “Role and revival of religious genres in the Balkans”. The contributions included in this volume offer new insights and knowledge on various aspects of the Ottoman music culture and their stimuli in the Mediterranean region and especially in parts of the Balkans, as well as on general aspects of the maqām principle.