The word motreb finds its roots in the Arabic verb taraba, meaning ‘to make happy.’ Originally denoting all musicians in Iran, motrebi came to be associated, pejoratively, with the cheerful vulgarity of the lowbrow entertainer. 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. Through its detailed and informed examination of Iranian popular music, this study reveals much about the values and anxieties of Iranian society, and is a valuable resource for students and scholars of Iranian society and history.

In this book Hormoz Farhat has unravelled the art of the dastgah by analysing their intervallic structure, melodic patterns, modulations, and improvisations, and by examining the composed pieces which have become a part of the classical repertoire in recent times.

Teasing, provocative, and very funny, Mohammed Hanif’s debut novel takes one of the subcontinent’s enduring mysteries and out if it spins a tale as rich and colourful as a beggar’s dream. Why did a Hercules C130, the world’s sturdiest plane, carrying Pakistan’s military dictator General Zia ul Haq, go down on 17 August, 1988? Was it because of: 1. Mechanical failure 2. Human error 3. The CIA’s impatience 4. A blind woman’s curse 5. Generals not happy with their pension plans 6. The mango season Or could it be your narrator, Ali Shigri? Here are the facts: • A military dictator reads the Quran every morning as if it was his daily horoscope. • Under Officer Ali Shigri carries a deadly message on the tip of his sword. • His friend Obaid answers all life’s questions with a splash of eau de cologne and a quote from Rilke. • A crow has crossed the Pakistani border illegally. As young Shigri moves from a mosque hall to his military barracks before ending up in a Mughal dungeon, there are questions that haunt him: What does it mean to betray someone and still love them? How many names does Allah really have? Who killed his father, Colonel Shigri? Who will kill his killers? And where the hell has Obaid disappeared to?

Presents information on the culture, history, and politics of the world outside the United States, with lists, charts, chronologies, and biographies discussing people and events from ancient times to the twentieth century.

What makes hundreds of listeners cheer ecstatically at the same instant during a live concert by Egyptian diva Umm Kulthum? What is the unspoken language behind a taqsim (traditional instrumental improvisation) that performers and listeners implicitly know? How can Arabic music be so rich and diverse without resorting to harmony? Why is it so challenging to transcribe Arabic music from a recording? Inside Arabic Music answers these and many other questions from the perspective of two "insiders" to the practice of Arabic music, by documenting a performance culture and a know-how that is largely passed on orally. Arabic music has spread across the globe, influencing music from Greece all the way to India in the mid-20th century through radio and musical cinema, and global popular culture through Raqs Sharqi, known as "Bellydance" in the West. Yet despite its popularity and influence, Arabic music, and the maqam scale system at its heart, remain widely misunderstood. Inside Arabic Music de-mystifies maqam with an approach that draws theory directly from practice, and presents theoretical insights that will be useful to practitioners, from the beginner to the expert - as well as those interested in the related Persian, Central Asian, and Turkish makam traditions. Inside Arabic Music's discussion of maqam and improvisation widens general understanding of music as well, by bringing in ideas from Saussurean linguistics, network theory, and Lakoff and Johnson's theory of cognition as metaphor, with an approach parallel to Gjerdingen's analysis of Galant-period music - offering a lens into the deeper relationships among music, culture, and human community.