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Books : Entertainment : Music : Musical Genres : Religious & Sacred Music : Muslim
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Music, according to Sufi teaching, is really a small expression of the overwhelming and perfect harmony of the whole universe—and that is the secret of its amazing power to move us. The Indian Sufi master Hazrat Inayat Khan (18821927), the first teacher to bring the Islamic mystical tradition to the West, was an accomplished musician himself. His lucid exposition of music's divine nature has become a modern classic, beloved only by those interested in Sufism but by musicians of all kinds.
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The Shahnameh or The Epic of Kings is one of the definite classics of the world. It tells hero tales of ancient Persia. The contents and the poet's style in describing the events takes the reader back to the ancient times and makes he/she sense and feel the events. Ferdowsi worked for thirty years to finish this masterpiece.
An important feature of this work is that during the period that Arabic language was known as the main language of science and literature, Ferdowsi used only Persian in his masterpiece. As Ferdowsi himself says "Persian language is revived by this work".
This is the translation of The Epic of Shahnameh Ferdowsi by Helen Zimmern.
Table of Contents:
THE SHAHS OF OLD
FERIDOUN
ZAL
ZAL AND RUDABEH
RUSTEM
THE MARCH INTO MAZINDERAN
KAI KAOUS COMMITTETH MORE FOLLIES
RUSTEM AND SOHRAB
SAIAWUSH
THE RETURN OF KAI KHOSRAU
FIROUD
THE VENGEANCE OF KAI KHOSRAU
BYZUN AND MANIJEH
THE DEFEAT OF AFRASIYAB
THE PASSING OF KAI KHOSRAU
ISFENDIYAR
RUSTEM AND ISFENDIYAR
THE DEATH OF RUSTEM
About the Publisher:
Orange Sky Project is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, Esoteric and Mythology in Kindle format. www.mehmetgok.com/orangesky
Orange Sky Project is about sharing informat
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Sufism, the mystical path of Islam, is a key feature of the complex Islamic culture of South Asia today. Influenced by philosophies and traditions from other Muslim lands and by pre-Islamic rites and practices, Sufism offers a corrective to the image of Islam as monolithic and uniform.
In Sacred Spaces, Pakistani artist and educator Samina Quraeshi provides a locally inflected vision of Islam in South Asia that is enriched by art and by a female perspective on the diversity of Islamic expressions of faith. A unique account of a journey through the author’s childhood homeland in search of the wisdom of the Sufis, the book reveals the deeply spiritual nature of major centers of Sufism in the central and northwestern heartlands of South Asia. Illuminating essays by Ali S. Asani, Carl W. Ernst, and Kamil Khan Mumtaz provide context to the journey, discussing aspects of Sufi music and dance, the role of Sufism in current South Asian culture and politics, and the spiritual geometry of Sufi architecture.
Quraeshi relies on memory, storytelling, and image making to create an imaginative personal history using a rich body of photographs and works of art to reflect the seeking heart of the Sufi way and to demonstrate the diversity of this global religion. Her vision builds on the centuries-old Sufi tradition of mystical messages of love, freedom, and tolerance that continue to offer the promise of building cultural and spiritual bridges between peoples of different faiths.
(20100219)
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"Few books on popular music treat their subject so comprehensively, with thoughtful attention to ideology, history, and verbal and musical rhetoric. Miyakawa's approach is at once comprehensive and streamlined, making for an especially effective presentation of the issues as well as a good read." —Albin Zak, author of The Poetics of Rock: Cutting Tracks, Making Records
"Miyakaya provides a great deal of information and analysis that is impossible to come by elsewhere. A sterling example of culturally-engaged musicology, her book is also a significant contribution to American history." —Joseph Schloss, author of Making Beats: The Art of Sample-Based Hip-Hop
The Five Percent Nation is a controversial organization and a substantial cultural force. Also known as Five Percenters, this offshoot of the Nation of Islam has employed commercial rap, or "God Hop," to teach its beliefs, comment on relevant issues, and recruit new members. Rap artists such as Erykah Badu and Queen Latifah are past members of the Five Percent Nation; GURU and Wu-Tang Clan are currently affiliated.
Five Percenter Rap: God Hop's Music, Message, and Black Muslim Mission examines the phenomenon from musical, historical, and cultural perspectives. Such a kaleidoscopic approach is necessary given the Five Percent Nation's complex theology—grounded in Black Muslim traditions, black nationalism, Kemetic (ancient Egyptian) symbolism, Masonic mysticism, and Gnostic spirituality—its historical ties to major movements and moments in American history, and its deep involvement with popular culture.
After establishing the theological and historical underpinnings of Five Percenter Rap, Felicia Miyakawa considers its marketing approaches and its use of specific musical techniques such as sampling, groove, and layering (often in significant numerical groupings). These techniques, she argues, are in service to the greater goal of Five Percenter rappers, who see themselves primarily as teachers and as bringers of a specific type of redemption and self-knowledge to benighted souls.
Vividly written and solidly researched, Five Percenter Rap will appeal to readers interested in popular music, American music and history, and African American religion and culture.
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"The story you are about to read is the story of a light-bringer....Salman Ahmad inspires me to reach always for the greatest heights and never to fear....Know that his story is a part of our history."
-- Melissa Etheridge, from the Introduction
With 30 million record sales under his belt, and with fans including Bono and Al Gore, Pakistanborn Salman Ahmad is renowned for being the first rock & roll star to destroy the wall that divides the West and the Muslim world. Rock & Roll Jihad is the story of his incredible journey.
Facing down angry mullahs and oppressive dictators who wanted all music to be banned from the Islamic Republic of Pakistan, Salman Ahmad rocketed to the top of the music charts, bringing Westernstyle rock and pop to Pakistani teenagers for the first time. His band Junoon became the U2 of Asia, a sufi - rock group that broke boundaries and sold a record number of albums. But Salman's story began in New York, where he spent his teen years learning to play guitar, listening to Led Zeppelin, hanging out at rock clubs and Beatles Fests, making American friends, and dreaming of rock-star fame. That dream seemed destined to die when his family returned to Pakistan and Salman was forced to follow the strictures of a newly religious -- and stratified -- society. He finished medical school, met his soul mate, and watched his beloved funkytown of La
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This book is addressed to all those interested in Canada: its history, its culture, its music.
Written by Timothy McGee, professor of music at the University of Toronto, the narrative ranges across the many genres of music that have flourished in Canada: art music, folk and popular music, church music, and jazz. Since the book is non-technical in its approach so that it may be easily understood by those not specifically trained in music, the author has thoughtfully provided separate analytical sections for the more advanced reader.
Abounding in music examples and replete with illustrations which vividly reflect each era of Canadian history, the volume also includes an anthology of thirteen complete works (or movements) by prominent Canadian composers, past and present. Each chapter begins with a brief summary of the social and political background of the period under discussion, so that its music may be understood within the context of Canadian history. The double heritage—French and English—which has both enriched and troubled Canadian cultural life, is traced from its origins to the present day. A final chapter departs from this chronological format to focus on the music of the Indian and Inuit people and comment on its sociocultural significance. Finally, an appendix including the sources of all the music discussed, a bibliography, discography, and filmography rounds out this ground-breaking volume.
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In the last decade of the twentieth century and on into the twenty-first, Israelis and Palestinians saw the signing of the Oslo Peace Accords, the establishment of the Palestinian Authority, the assassination of Israeli Prime Minister Yitzhak Rabin, and the escalation of suicide bombings and retaliations in the region. During this tumultuous time, numerous collaborations between Israeli and Palestinian musicians coalesced into a significant musical scene informed by these extremes of hope and despair on both national and personal levels.
Following the bands Bustan Abraham and Alei Hazayit from their creation and throughout their careers, as well as the collaborative projects of Israeli artist Yair Dalal, Playing Across a Divide demonstrates the possibility of musical alternatives to violent conflict and hatred in an intensely contested, multicultural environment. These artists' music drew from Western, Middle Eastern, Central Asian, and Afro-diasporic musical practices, bridging differences and finding innovative solutions to the problems inherent in combining disparate musical styles and sources. Creating this new music brought to the forefront the musicians' contrasting assumptions about sound production, melody, rhythm, hybridity, ensemble interaction, and improvisation.
Author Benjamin Brinner traces the tightly interconnected field of musicians and the people
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Divine Inspirations: Music and Islam in Indonesia brings together the work of 11 international scholars into an unprecedented volume focused on religion and performance in a nation celebrated for its extraordinary arts, religious diversity, and natural beauty. The resulting collection provides a panoramic view of Indonesia's Islamic arts in a variety of settings and communities. Together the authors address how history, politics, spirituality, and gender are expressed through performance and how Indonesian Islamic culture intersects with the ideology and practice of nationalism.
Unique and engaging, Divine Inspirations will fascinate readers interested in Southeast Asia, the Middle East, Islam, world religions, global discourse, and music, arts and ritual.
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From "green" pop and "clean" cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world.
The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a "post-Islamist" cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a "cool Islam" in music, their struggle to quell their stigmatized status, or the collision of morals and t
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Traditional cultures in many parts of the world have displayed a profound appreciation for the unity of all human spirit in its quest for knowledge of the Divine. Here a medieval Muslim handbook for right living is interpreted in modern English verse.
When I am come above these things of earth,
I find a heaven in my contemplation:
Eternal Beauty, nameless, featureless,
No longer masked nor hid by folds of flesh.
Two hundred years later, Rumi paid Ghazzali the compliment of incorporating several of his allegories into his own epic work, the Masnavi.
Jabez L. Van Cleef takes foundational texts from many oral traditions and religions and creates a common poetic format to preserve, promote and disseminate the values of these cultures. His work also promotes the Universal Declaration of Human Rights and other frameworks fostering human achievement.
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Why do religious communities remember some events and not others? Why do some kinds of music find a continuing place in worship while others seem to lose their appeal? Why is it that the Islamic tradition is understood so narrowly, even by some Muslims, when in fact it has a broadly textured history of belief and practice? In Memory, Music, and Religion, Earle H. Waugh addresses such probing questions while exploring a rich vein of Islam in Morocco—the mystical chanters. In this book, a detailed study of the interplay between memory, music, and religion, Waugh opens new areas of thought, particularly regarding a theme that cuts across religious traditions: the role of memory in religious formation.Since the glorious days of Andalusia, Muslim poetic and musical traditions have found a vibrant home among Moroccan Sufis. Through rituals of dhikr, or remembrance, the old forms of music and word blend into a new form of worship for today. In this study, Waugh probes the depths of religious memory within Islam and notes the singular importance of memory in comprehending the meaning and styles of music. Showing how the powerful tradition of music nurtures the Muslim soul, Waugh brings new insights to the study of the religious function of memory.
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We say, and we are not shy to say it: Prophet Muhammad (s) is our light; Prophet Muhammad (s) is our heart; Prophet Muhammad (s) is our life; For without our beloved Prophet (s) we would never have been guided to know of Allah, the Mighty and Sublime, nor of the Angels, the prophets, the books of revelation nor of the Afterlife. When our master 'Ali (r) was asked about the strength of his devotion to Allah's Prophet (s) he replied: "By Allah, we cherished him more than we did our children, our parents, and all of our possessions. He was much dearer to us than fresh water is for a thirsty soul." Such was the esteem and the honor the Prophet (s) was held in by his Companions. By the same token, the hearts of true believers ought to be filled with similar devotion to the Prophet (s). Sending blessings on Allah's Beloved (s) is certainly the best way of invoking him, in compliance with the command of the Lord Almighty. In thus blessing him we show him gratitude and acknowledge his countless favors to us. To send blessings on the Prophet (s) is only a negligible payment for the unending benefits and good we have seen through him. In truth, to thank the Prophet (s) is to thank Allah, and Allah Himself is Champion and Supporter of those who honor His Beloved Messenger (s). Blessing the Prophet (s) is a token of devotion, obedience and the highest form of worship to bring the believer
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This book contains the first study of the musical culture of ancient Israel/Palestine based primarily on the archaeological record.Noted musicologist Joachim Braun explores the music of the Holy Land region of the Middle East, tracing its form and development from its beginnings in the Stone Age, through the Bronze and Iron ages, and into late Roman times—a span of time ranging from the twelfth millennium B.C. to the fourth century A.D.
This is not a study of "music in the Bible" or music in "biblical times" but a unique, in-depth investigation of the historical periods and cultures that influenced the music of the region and its people. Braun combines significant archaeological findings—musical instruments, terra cotta and metal figures, etched stone illustrations, mosaics—with evidence drawn from written (mainly biblical) texts and anthropological, sociological, and linguistic sources.
The portrait Braun assembles of this past musical world is both fascinating and innovative, suggesting a reconsideration of many views long accepted by tradition. Enhanced with approximately 200 illustrations, this exceptional work will be a valued resource for scholars, students, and general readers interested in the history of music, biblical studies, the ancient Near East, Jewish studies, and the Holy Land.
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Traditional cultures in many parts of the world have displayed a profound appreciation for the unity of all human spirit in its quest for knowledge of the Divine. Here a medieval Muslim mystic records his living meditation; Rumi wrote three centuries later on Al-Hallaj's words, ‘I am God,': “People imagine that it is a presumptive claim, whereas I find it is really a presumptive claim to say ‘I am the slave of God'; for, ‘I am God' is an expression of great humility. The man who says ‘I am the slave of God' affirms two existences, his own and God's; but he that says, ‘I am God,' has made himself non-existent and has given himself up, and says ‘I am God,' that is, ‘I am naught, He is all; there is no being but God's.' This is the extreme of humility and self-abasement.”�
Jabez L. Van Cleef takes foundational texts from many oral traditions and religions and creates a common poetic format to preserve, promote and disseminate the values of these cultures.
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Mohammad Reza Shajarian’s Avaz in Iran and Beyond, 1979–2010 is a comprehensive study of the legacy of Mohammad Reza Shajarian, the greatest living exponent of avaz, the traditional art of singing classical Persian poetry. Picking up where the authors’ previous volume (The Art of Avaz and Mohammad Reza Shajarian: Foundations and Contexts) left off, this study examines the landmark recordings Shajarian made following the Islamic Revolution of 1979 as artistic masterpieces of avaz and as shrewd, mass-mediated expressions of frustration and dissent that boldly crystallized public sentiments under highly repressive conditions. These recordings transformed Shajarian into a national icon in Iran and through the diaspora. The book traces the subsequent expansion of Shajarian’s music and presence in ever-widening circles to his current global profile, powerfully underlined by his receipt of prestigious awards from UNESCO and other global institutions. Shajarian’s artistic accomplishments, including his recent activity in designing and crafting a range of new stringed instruments, and socio-political significance are placed in the broader context of Iranian musical culture in the decades following the Revolution. In surveying Shajarian’s legacy, this study concludes with questions arising from the Election Crisis of 2009—where he was popularly proclaimed as “Master of the Green Movement” (Ostad-e Sabz) for his outspoken opposition to the violent crackdown—the subsequent political stalemate, and how these dynamics resonate with issues of the present state and relevance of Persian classical music in the twenty-first century. This book forms the conclusion of the most detailed study to date of the music, life, and environment of the most influential musician in Iranian classical music of the past three decades.
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The Art of Avaz and Mohammad Reza Shajarian: Foundations and Contexts, by Rob Simms and Amir Koushkani, examines the traditional art of singing classical Persian poetry, as represented by its greatest living exponent. This in-depth study surveys the social and historical context of the twentieth-century tradition of avaz while placing Shajarian’s early career within this complex culture, from being a child prodigy of Qur’an recitation in Mashhad to his rise to national prominence in the 1970s.
As a globetrotting celebrity who is renowned for singing medieval poetry with impeccable technique and radiant inspiration, Shajarian’s life and work provide a compelling case study for larger issues of reconciling tradition and modernity, and the crucial role of the individual in maintaining and renovating traditional art forms. Avaz is discussed in the broader context of Iranian narrative performance traditions, where the performer retells well-known scripts in a way that is appropriate to the audience and the present occasion, spinning the tale to convey a personal message. Shajarian’s career also exemplifies the huge changes that Iranian musical culture underwent in the 1960s and 70s. Finally, the study includes a detailed examination of the materials and creative processes of Shajarian’s artistic craft, including his acquisition process and training, vocal technique, selection and treatment of poetry, use of traditional musical materials, and his balance of engaging preset materials with improvisation.
The Art of Avaz and Mohammad Reza Shajarian is an impressively detailed study of the music, life, and environment of the most influential musician in Iranian classical music of the past three decades.
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How do young single American Muslims balance their faith with western culture? This topic and more is tackled by author Zarinah El-Amin Naeem in Jihad of the Soul (208pp. $19.95), a gut wrenching look at how young Muslim singles navigate love and faith. Let s face it, no matter how many T.V. episodes of The Bachelor or Sex and the City air, singlehood for the average person is a difficult life period. Most singles want to be in a loving, romantic, long-term relationship. They want to be married. Unfortunately, in the American Muslim community, there are Muslim single men available, and Muslim single women available, but there is a huge disconnect and a serious lack of marriage! Why? El-Amin Naeem says, Well, my research shows there are a number of factors including the practice of strict gender separation and marital endogamy that affect and delay the transition from singlehood to marriage for many American Muslims. The Muslim community has serious issues it needs to face, but unfortunately seems to be in denial! The book is an anthropological exploration into the attitudes, experiences and emotions of single Muslim young adults between the ages of 18-40.
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Ma'lûf is an Arabic word meaning 'familiar' or 'customary'. In Tunisia, it is the term used for the indigenous Arab Andalusian musical tradition. Like the related musical traditions of Morocco, Algeria, and Libya, the ma'lûf originated in the Islamic courts and cities of medieval Iberia (Al-Andalus) and is associated with the migrations of Muslim and Jewish refugees into North Africa in the wake of the Christian reconquest.
This is the first English-language book on Tunisian music or any national tradition of Arab Andalusian music, and it is the only book in any language to survey the recent history of the ma'lûf since its modern revival in the early 20th century. Drawing from and expanding upon her extensive body of published writings, this book presents key aspects of Davis's original research on the ma'lûf, including its musical aesthetics, personalities, institutions and myths, through a century of modernization and change from the early twentieth century to the present day.
The text is enriched by original photographs, musical examples, and song texts in Arabic and English translation, including a complete transcription of a twenty-minute performance of a nuba - the principal genre of Arab Andalusian music.
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Music has had an unhappy history in the lives of many Muslims. Because religion is so tightly bound up with culture it is not always clear why this should be the case. Nonetheless, music is a sensitive issue for many Muslims and this has to be understood when providing appropriate music education. Music is a compulsory part of the curriculum in the U.K., so it is essential that music teachers understand the relationship between Muslims and music.
This book looks at the history and position of music in Islam. It considers music education in Muslim countries, and looks at music lessons in multiethnic classrooms in the U.K. The recommendations about how music lessons can be made more appropriate to Muslim pupils are based on the author’s research and experience. She suggests ways to ensure that people are never persuaded to do anything which conflicts with their religion, while extending the opportunity for meaningful music lessons for all pupils.
This book is for all principals striving to fulfill their statutory obligations to all pupils, and essential reading for music teachers in multicultural schools.
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