DOCSLIB.ORG

City, University of London Institutional Repository

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
City, University of London Institutional Repository City Research Online City, University of London Institutional Repository Citation: Wilford, Stephen (2016). Bledi Cockneys: music, identity and mediation in Algerian London. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17031/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Bledi Cockneys: Music, Identity and Mediation in Algerian London Stephen Wilford PhD Department of Music School of Arts and Social Sciences City University London November 2016 City, University of London Northampton Square London EC1V 0HB United Kingdom T +44 (0)20 7040 5060 THE FOLLOWING PARTS OF THIS THESIS HAVE BEEN REDACTED FOR COPYRIGHT AND DATA PROTECTION REASONS: Photographs: 2.1, 2.2, 2.3, 2.4, 2.5, 2.6, 3.2, 3.4, 3.5, 3.6, 3.7, 3.8, 5.2, 5.4, 5.5, 5.6, 5.8, 5.9, 5.12 Promotional materials: 3.1, 3.3, 4.8, 4.9 Facebook posts: 4.4, 4.6, 4.7, 5.10, 5.11, 5.13 Article: 4.1 Video stills: 4.3, 5.7 www.city.ac.uk Academic excellence for business and the professions Table of Contents Acknowledgements Declaration Abstract Chapter 1 1 1.1 Introduction 1 1.2 Research Methodologies, Issues, and Challenges 4 1.3 Algerian History and Politics 23 1.4 The Musics of Algeria 28 1.5 Extant Literature on Algerian Musics 36 1.6 Algerian London 42 Chapter 2: Performing Algerian Musics and Identities 53 2.1 Performing Music and Performing Identity 63 2.2 Sites of Algerian Musical Performance 67 2.3 Staging Algerian Music 77 2.4 Communicating Algerian Identities through 91 Musical Performance 2.5 Conclusions 102 Chapter 3: Three Public Performances of Algerian Musics 107 3.1 Theories 108 3.2 Glocalisation 111 3.3 Slobin’s Tripartite Model 114 3.4 The World Stage 117 3.5 Hamidou 119 3.6 The Barbican Centre 126 3.7 El Gusto Orchestra of Algiers 128 3.8 Rachid Taha and Souad Massi 142 3.9 Conclusions 154 Chapter 4: Music and Mediation 161 4.1 Theories of Music, Media and Mediation 161 4.2 Algerian Musicking, the Internet, and Social Media 168 4.3 Algerian Radio in London 181 4.4 Algerian Music and Auto-Exoticism 198 4.5 Conclusions 212 Chapter 5: Andalus Music in London 216 5.1 The Origins of Andalus Music 216 5.2 The Ṭab‘ and Nūba in Andalus Music 218 5.3 Andalusi Music in Contemporary Algerian Society 221 5.4 The Al-Andalus Caravan 224 5.5 The Andalusi Musical Association 228 5.6 Heritage and Tradition in Andalus Music 232 5.7 Teaching and Learning Andalus 240 5.8 Performing Andalus 250 5.9 The Al-Andalus Caravan and Social Media 255 5.10 Conclusions 263 Chapter 6: Conclusions 268 6.1 The Social Function of Algerian Music 271 6.2 The Construction and Performance of Identities 273 through Musicking 6.3 Public Displays of London Algerianness through 278 Music 6.4 Concluding Remarks 280 Glossary of terms 285 References 288 List of Illustrations 2.1: Algerian chaabi musicians performing at Rostomia café, 75 London, March 2012 2.2: Al Andalus Caravan performing at Culturama’s ‘International 83 Women’s’ Day’ event 2.3: Abdelkader Saadoun and band performing at the EBRD. 97 2.4: Seddick Zebiri and the Seeds of Creation performing at the 100 London Mela 2012. 2.5: Cheb Nacim, holding Algerian flag, on stage at the London 101 Mela 2012 2.6: Algerians, proudly displaying an Algerian flag, in front of the 101 Eid stage at the London Mela 2012, during Cheb Nacim’s performance. 3.1: The flyer and poster for the Hamidou event, produced by concert 120 organiser Rachida Lamri, and distributed exclusively online. 3.2: An audience member records Hamidou’s performance on their 123 mobile phone. 3.3: The covers of the El Gusto Orchestra’s two recent, commercially 131 released albums. 3.4: Members of the El Gusto Orchestra in discussion during the 135 pre-concert talk. 3.5: Philippe Darmon and Mohamed Touzan performing 137 ‘Duo Rabbin/Muezzin’. Mohamed Ferkioui dancing on the front of the Barbican’s stage. 3.6: Souad Massi on stage at the Barbican. 149 3.7: Rachid Taha performing at the Barbican. 150 3.8: Rachid Taha on stage at the Barbican. 152 4.1: An interview article with Rachida Lamri in Algerian newspaper 175 El Watan. 4.2: Publicity for upcoming events, and links to videos of previous 177 performances, posted by Abdelkader Saadoun on his Facebook page. 4.3: The Papers in the video for their song Guerrizla Pt. II, with brothers 178 Yazid and Massyl 4.4: Djamel’s original post on Facebook, in March 2011, introducing 185 Rihet Bladi. 4.5: An online advert for Rihet Bladi from 2012, posted on Facebook by 190 Djamel. 4.6: A post on Facebook, in which Djamel explains the ways in which 194 listeners are able to access the station via the Internet. 4.7: A promotional post by Yazid Fentazi for an upcoming event in 202 December 2013. 4.8: Images used to promote forthcoming events by raï singer 205 Abdelkader Saadoun. 4.9: Online adverts promoting events by Cheb Nacim. 210 5.1: A private concert of Andalusi music in Algiers in 1889. 222 5.2: A picture of the Al-Andalus Caravan, taken outside their rehearsal 226 room in Pimlico London in 2011. 5.3: Two images of Tewfik’s rebāb, purchased during a visit to Algeria. 235 5.4: Tewfik leading one of the Caravan’s beginners’ classes. 242 5.5: During one of the beginners’ classes. The text on the music stand 244 (in Arabic script) contains the lyrics of the piece being taught. 5.6: A rehearsal of the association’s main ensemble, in March 2013, with 245 Tewfik playing the rebāb. 5.7: Video clips of the Caravan’s performance at Putney Methodist 248 Church, with comments from friends and family. 5.8: The Caravan performing at a concert at Putney Methodist church in 250 July 2012. 5.9: Tewfik during the Caravan’s performance at the Algerian Cultural 254 Festival in October 2012. 5.10: One of Tewfik’s posts on the association’s Facebook wall. 256 5.11: A video clip posted on the Caravan’s Facebook wall, which Tewfik 257 suggests offers an excellent source for learning and istikhbar. 5.12: Sid Ahmed Serri, a renowned performer of Andalusi music, whose 259 teachings strongly influence the Caravan. 5.13: A video of Algerian singer Meriem Abed, posted on the 261 association’s Facebook wall. Acknowledgements I would like to thank a number of people for the support that they have given me throughout my doctoral studies, and for the contributions that they have made to this thesis. Firstly, I would like to thank all of the Algerian friends that I have made whilst conducting this research, and whose stories appear throughout the following pages. I have been shown incredible hospitality, and the large quantities of strong black coffee and Algerian cuisine that I have been lucky enough to consume have undoubtedly been a contributing factor to the completion of my work. The time that my Algerian friends have made for me, and their patience in speaking to me about music, can never be fully repaid, but I am eternally grateful to them all. In particular I would like to thank Tewfik Ouagueni and Rachida Lamri, who are not only fantastic musicians, but have been incredibly supportive of my research. I have been very fortunate to see them both perform on a number of occasions, and they have opened my ears to many new musics and musicians. I would like to thank my many friends at Goldsmiths, University of London. It was there that I first encountered the strange but wonderful world of ethnomusicology, and without the support of the academic staff that taught me during my Masters degree, I would never have been prepared for the exciting (but arduous) task of undertaking doctoral research. In particular I am grateful to Dr Barley Norton and Professor John Baily for their on-going support and interest in my work and my career. They have been both fantastic teachers and inspiring colleagues. I would also like to thank the many staff members that I have worked with in various offices throughout Goldsmiths during my studies. They have been extremely supportive and understanding when I have disappeared to the library during lunchtimes, or have had to turn down a trip to the pub after work in order to focus on my research. I would like to thank City University London and the AHRC for the support they have given me during my doctoral studies, and for providing me with the funding that has enabled me to complete my research.
Load more

Recommended publications
  • A R a B I a N S
    LEBANON SYRIA ISRAEL/Occupied Palestinian Territory (OPT) EGYPT JORDAN IRAQ KUWAIT IRAN SAUDI ARABIA BAHRAIN QATAR U.A.E . OMAN YEMEN ARABIAN SEA Middle East and North Africa Preti Taneja n 2010, religious and ethnic minorities across Right: A woman cries over a coffin during the the Middle East and North Africa remained funeral for two Christian brothers killed in Mosul, I disproportionately affected by ongoing con- November 2010. Khalid al-Mousuly/Reuters. flict, political turmoil and state-sanctioned repres- sion of their rights. country widely regarded as one of the most stable Though Iraqi parliamentary elections were held in the region. In November 2009, King Abdullah in March 2010, the government was not formed II dissolved a parliament that had only served until November. In this political vacuum, which two years of its four-year term. Elections were also saw the end of US combat operations in the due to follow swiftly, but were postponed for the country, violence against minority groups escalated. drafting of a new electoral law, and the country In February, attacks in Mosul over ten days left reverted to direct royal rule for a year-long period. eight Christians dead, according to Human Rights Despite protests that the new electoral law further Watch (HRW). In October, militants laid siege to marginalizes the country’s Palestinian population, Our Lady of Salvation Syriac Catholic Church in elections were finally held in November 2010, Baghdad, taking over 100 people hostage. Numbers but were boycotted by the country’s main Islamist of reported casualties vary. Amnesty International opposition group.
    [Show full text]
  • Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
    UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity.
    [Show full text]
  • 1997Festivalofameric00festival.Pdf
    ,j iVJ I t n 3 o ri i a r \j ;J ^_ j. r\ r\ r \ 1 r r -1 L_ U > \J j_ Members of the Ethiopian Christian community participate in an annual candlelight ceremony called Maskal (cross finding) at Malcolm X Park in the District of Columbia. Photo by Harold Dorwin, © Smithsonian Institution 6 Smithsonian Institution Festival of American Folklife On the National Mall WASHINGTON, D.C. June25— 29&July2— Cosponsored by the National Park Service 1997 Festival of American Folklife Hazel Dailey from Columbia, Louisiana, works with the insert to the pressure cooker she uses in canning produce. Photo by Sylvia Frantom Tradition-based social occasions like this coffee ceremony at the Washing- On the Cover ton, D.C., home ofHermela Kebede reinforce ties between generations of At this baptism at Lake Providence, Louisiana, in the Delta region, the minister Ethiopian women living in the United repeats a prayer as each candidate, dressed in traditional robe and headgear, States. Photo by Harold Dorwin, is immersed. The baptized are then received by members of the church and ©Smithsonian Institution taken away to change. Photo © Susan Roach At a gathering of the lion Christian Church in South Africa's northern province ofMoria, the men of Site Map on the Back Cover Mokhukhu dance as an expression of faith. Photo © T. J. Lemon The Carolina Tar Heels (left to right, Clarence [Torn! Ashley, Doc Walsh, Owen Foster), ca. 1930. Photo courtesy CFPCS Archive Crop dusting cotton fields in the Mississippi Delta. L Photo © Maida Owens 27 1997 Festival of American Folklife
    [Show full text]
  • La Musique Francophone Objectifs
    La musique francophone Objectifs Présenter un chanteur Biographie – pays Présenter une chanson ou un clip Le théme – l’histoire – le message Mon avis Mon avis sur le chanteur et la chanson Ma musique Programme Khaled – Aïcha - Le Raï Qu’est-ce que tu aimes comme musique? Pour toi qu’est-ce que c’est la musique? Khaled Khaled est né à Oran en Algérie. L'Algérie est un pays en Afrique du Nord entre le Maroc et la Tunisie. Khaled est né en 1960. Il devient musicien à l'âge de 7 ans. Il chante le Raï. Il a beaucoup de succès. En 1985, il participe au festival du Raï à Oran. Il est sacré " Roi du Raï " par le public. En 1996, Jean-Jacques Goldman écrit la chanson "Aicha" pour Khaled ". Cette chanson a un succès international et elle est élue meilleure chanson de l’année aux "Victoires de la musique ". La chanson "Aïcha" est sur l'album qui s'appelle Sahra. Les chanteurs et leur chanson 1. Zaz – Je veux 2. Faudel – Je veux vivre 3. Jocelyne Labylle – J’ai déposé les clefs 4. African connection – Ami oh! 5. Alpha Blondy – Journaliste en danger 6. Calogero et Passi – Face à la mer 7. Pham Quynh Anh – Bonjour vietnam 8. Tiken Jah Fakoly - Un africain à Paris 9. Diam’s – Jeune demoiselle 10. Amel Bent – Ma philosophie Zaz – Je veux Isabelle Geffroy, alias Zaz, est née à Tours en 1980. Son style musical est un mélange de jazz manouche, de soul et d'acoustique. Zaz commence sa carrière musicale à Paris dans les rues, les cafés, et les cabarets.
    [Show full text]
  • Corel Ventura
    Anthropology / Middle East / World Music Goodman BERBER “Sure to interest a number of different audiences, BERBER from language and music scholars to specialists on North Africa. [A] superb book, clearly written, CULTURE analytically incisive, about very important issues that have not been described elsewhere.” ON THE —John Bowen, Washington University CULTURE WORLD STAGE In this nuanced study of the performance of cultural identity, Jane E. Goodman travels from contemporary Kabyle Berber communities in Algeria and France to the colonial archives, identifying the products, performances, and media through which Berber identity has developed. ON In the 1990s, with a major Islamist insurgency underway in Algeria, Berber cultural associations created performance forms that challenged THE Islamist premises while critiquing their own village practices. Goodman describes the phenomenon of new Kabyle song, a form of world music that transformed village songs for global audiences. WORLD She follows new songs as they move from their producers to the copyright agency to the Parisian stage, highlighting the networks of circulation and exchange through which Berbers have achieved From Village global visibility. to Video STAGE JANE E. GOODMAN is Associate Professor of Communication and Culture at Indiana University. While training to become a cultural anthropologist, she performed with the women’s world music group Libana. Cover photographs: Yamina Djouadou, Algeria, 1993, by Jane E. Goodman. Textile photograph by Michael Cavanagh. The textile is from a Berber women’s fuda, or outer-skirt. Jane E. Goodman http://iupress.indiana.edu 1-800-842-6796 INDIANA Berber Culture on the World Stage JANE E. GOODMAN Berber Culture on the World Stage From Village to Video indiana university press Bloomington and Indianapolis This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://iupress.indiana.edu Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2005 by Jane E.
    [Show full text]
  • Ahwash Ntfrkhin’As a Case Study Sekkal Khadija Sidi Mohamed Ben Abdellah University, Faculty of Letters and Human Sciences, Sais-Fez, Morocco
    SSRG International Journal of Humanities and Social Science (SSRG-IJHSS) – Volume 7 Issue 1–January 2020 An Ethnographic Approach to Women’s Identity Celebrating in Folklore: ‘Ahwash Ntfrkhin’as a Case Study Sekkal Khadija Sidi Mohamed Ben Abdellah University, Faculty of Letters and Human Sciences, Sais-Fez, Morocco Abstract as an academic discipline articulating its own content The paper is about the discourse used by women in and methodology. Being no longer perceived as ahwash (a folk dance in Sous, Morocco). It aims at something amateurish associated with ‘primitive’ documenting the way ahwash ntfrkhin, (girls’ cultures, folklore has come to stand a ahwash)articulates anempowering and often genuineincarnation of the thoughts, attitudes, values, challenging discourse via performance and lyrics. and beliefs of specific communities (Propp 1984: 38). Though there are many folkloric performances in Many researchers have depicted folklore as Sous, ahwash ntfrkhin stands as the epitome of all the gender-biased (Radner and Lanser 1987, Kowawole dances since it grants women the opportunity to enjoy 1998, Kousaleos 1999,Sadiqi 2003, Ennaji 2008, autonomy and freedom of expression and experience. Sekkal 2012).Women are commonly deprecated in Freedom of expression implies that women can folklore. And when accorded some consideration, it express freely and outwardly a particular feminine only fits their prevalent image as evils, victims, and world view. Yet, freedom of experience refers to the failures or their traditional role as docile mothers and fact that females experience themselves as active submissive housewives. Not with standing, such subjects during this performance. The study unfolds stereotypical conceptualization of women in folklore that women are successful in challenging male and the one-dimensional interpretation of its data dominion in ahwash ntfrkhin showing their solidarity should be revisited as folklore also serves as a scope and unity against any patriarchal domination and for subverting gender-biased discourse.
    [Show full text]
  • La Mort Du Raï ? Sans Blague ? Il Est Trop Heureux D'épouser Les Formes
    La mort du Raï ? Sans blague ? Il est trop heureux d'épouser les formes nouvelles, comme il l'a fait avec la funk, le chaâbi égyptien ou la musique de Bollywood tout en plongeant ses racines si profond dans la croûte terrestre oranaise, fécondée par les bédouins qui trafiquent du son de l'Ethiopie au Mali, par les réfugiés d'Al-Andalus dont les écoles de Nouba rayonnent toujours, la poésie des chioukh, le phaser des gasbas. Sofiane Saidi est un rescapé de la vague World Music des années 90. Ou plutôt un vainqueur comme on dit pour les navigateurs, un gars qui malgré les tempêtes et les escroqueries de l'armateur qui a menti sur la qualité du bois utilisé pour la coque du bateau, continue la traversée et arrive à bon port. Il vient du fief des frères Zergui qu'il trace de mariage en mariage, le nez au vent de Sidi Bel Abbes pour savoir où ça joue, en se rapprochant chaque soir du podium pour écouter mieux et finalement prendre le micro. A 15 ans, il chante dans les clubs mythiques d'Oran : les Andalouses, le Dauphin, où se produisent les stars Benchenet, Hasni, Fethi, Marsaoui. Fuyant le FIS et la terreur en Algérie, Sofiane a 17 ans quand il arrive à Paris. Après 2 ans de galère, sans chanter, sans musique, il retrouve le milieu raï des cabarets. C'est le même qu'en Algérie : prostituées, musiciens, dealers, fêtards, travestis, escrocs, en plus dangereux, en moins naïf. C'est aussi la diaspora intellectuelle et artistique qui se retrouve en France pendant qu'en Algérie, on tue Cheb Hasni, Rachid Baba Ahmed, Cheikh Zouaoui.
    [Show full text]
  • Nominations List
    STRICTLY EMBARGOED UNTIL 4.30PM 31ST MARCH 2021 NOMINATIONS LIST FEMALE SOLO ARTIST BREAKTHROUGH ARTIST MASTERCARD ALBUM In association with Amazon Music In association with TikTok ARLO PARKS ARLO PARKS TRANSGRESSIVE ARLO PARKS TRANSGRESSIVE COLLAPSED IN SUNBEAMS TRANSGRESSIVE CELESTE POLYDOR, UNIVERSAL MUSIC BICEP NINJA TUNE CELESTE DUA LIPA WARNER, WARNER MUSIC CELESTE POLYDOR, UNIVERSAL MUSIC NOT YOUR MUSE POLYDOR, UNIVERSAL MUSIC JESSIE WARE EMI, UNIVERSAL MUSIC JOEL CORRY ASYLUM/PERFECT HAVOC, WARNER MUSIC DUA LIPA LIANNE LA HAVAS WARNER, WARNER MUSIC YOUNG T & BUGSEY FUTURE NOSTALGIA WARNER, WARNER MUSIC BLACK BUTTER, SONY MUSIC J HUS MALE SOLO ARTIST BIG CONSPIRACY BLACK BUTTER, SONY MUSIC In association with Amazon Music BRITISH SINGLE WITH MASTERCARD JESSIE WARE AJ TRACEY AJ TRACEY The top ten identified by chart eligible sales success then voted for by The Academy, WHAT'S YOUR PLEASURE? HEADIE ONE RELENTLESS, SONY MUSIC Supported by Capital FM EMI, UNIVERSAL MUSIC J HUS BLACK BUTTER, SONY MUSIC 220 KID & GRACEY DON'T NEED LOVE POLYDOR, UNIVERSAL MUSIC JOEL CORRY ASYLUM/PERFECT HAVOC, WARNER MUSIC AITCH & AJ TRACEY FT TAY KEITH INTERNATIONAL FEMALE SOLO ARTIST RAIN YUNGBLUD INTERSCOPE, UNIVERSAL MUSIC ARIANA GRANDE REPUBLIC, UNIVERSAL MUSIC NQ, VIRGIN, UNIVERSAL MUSIC BILLIE EILISH INTERSCOPE, UNIVERSAL MUSIC DUA LIPA PHYSICAL WARNER, WARNER MUSIC CARDI B ATLANTIC, WARNER MUSIC BRITISH GROUP HARRY STYLES WATERMELON SUGAR MILEY CYRUS RCA, SONY MUSIC COLUMBIA, SONY MUSIC BICEP NINJA TUNE TAYLOR SWIFT EMI, UNIVERSAL MUSIC HEADIE
    [Show full text]
  • Music and Dance of the Middle East
    Music and Dance 1 Cultures of the Middle East Midterm paper: Class of Professor Abdelrahim Salih Music and Dance of the Middle East Music transcends language. It can put forth emotions of deep sorrow or ecstatic joy whether the language of the song is in Chinese, English, French or Arabic. With music comes dance. Dance is shaped by the music, as it is the dancer‟s duty to display the emotions of the music; dance is as diverse as the music itself is. Middle Eastern music is a language of its own; it is extraordinarily different from Western music and was shaped by its own great theoreticians of music. The instruments of the Middle East are exotic looking, though they are the ancestors of many Western instruments. The dances of the Middle East vary – there are feminine dances and masculine dances and dances that everyone joins. In the Middle East, music and dance cannot be put under one category because of the extreme variations throughout the region itself. From the beautiful melodies of Debussy to the dramatic compositions of Mozart, there is one thing in common: they are all based on an octave scale that includes thirteen notes. They are based on the Western scale. Vocalists using the Western scale must be very precise when it comes to the notes because there are no “in-between” or quarter notes. Also, compositions are almost always polyphonic; they have both a melody and a harmony (Todd, 2003). A piece that does not include a harmony is considered to be rather simple and not a great classical.
    [Show full text]
  • The Fight for Democracy & Women's Rights in Algeria: A
    THE FIGHT FOR DEMOCRACY & WOMEN’S RIGHTS IN ALGERIA: A LONG LEGACY OF STRUGGLE The uprising that began in Algeria on 22 February 2019, was a watershed moment in the country’s 57-year history since independence. It reflects, among other things, the culmination of decades of struggle by two secular movements that have pushed against both the extremist Islamist tendencies in the country, but also against a regime that tried to contain and use the Islamists to its own advantage. The absence of an Islamist presence in the protests and the secular nature of the demands is notable, suggesting that the country has now entered what some call a post-Islamist era. This article explores what gave rise to these new tendencies. It first documents the demise of Islamist influences and shows how the current protests have their roots in two secular movements: the women’s movement and the Kabyle (Berber) movement, thus representing a fundamental shift in Algerian politics. Aili Mari Tripp* Spring 2019 * Aili Mari Tripp is the Wangari Maathai Professor of Political Science and Gender and Women’s Studies at the University of Wisconsin-Madison. Tripp is author of the forthcoming book Seeking Legitimacy: Why Arab Autocracies Adopt Women's Rights. Tripp is also co-director of the research project, Women and Peacebuilding in Africa, funded by the Norwegian Foreign Ministry and Carnegie Corporation of New York. 59 VOLUME 18 NUMBER 1 AILI MARI TRIPP he uprising that began in Algeria on 22 February 2019 is a water- shed moment in the country’s 57-year history since independence.
    [Show full text]
  • DJ – Titres Incontournables
    DJ – Titres incontournables Ce listing de titres constamment réactualisé , il vous ait destiné afin de surligner avec un code couleur ce que vous préférez afin de vous garantir une personnalisation totale de votre soirée . Si vous le souhaitez , il vaut mieux nous appeler pour vous envoyer sur votre mail la version la plus récente . Vous pouvez aussi rajouter des choses qui n’apparaissent pas et nous nous chargeons de trouver cela pour vous . Des que cette inventaire est achevé par vos soins , nous renvoyer par mail ce fichier adapté à vos souhaits 2018 bruno mars – finesse dj-snake-magenta-riddim-audio ed-sheeran-perfect-official-music-video liam-payne-rita-ora-for-you-fifty-shades-freed luis-fonsi-demi-lovato-echame-la-culpa ofenbach-vs-nick-waterhouse-katchi-official-video vitaa-un-peu-de-reve-en-duo-avec-claudio-capeo-clip-officiel 2017 amir-on-dirait april-ivy-be-ok arigato-massai-dont-let-go-feat-tessa-b- basic-tape-so-good-feat-danny-shah bastille-good-grief bastille-things-we-lost-in-the-fire bigflo-oli-demain-nouveau-son-alors-alors bormin-feat-chelsea-perkins-night-and-day burak-yeter-tuesday-ft-danelle-sandoval calum-scott-dancing-on-my-own-1-mic-1-take celine-dion-encore-un-soir charlie-puth-attention charlie-puth-we-dont-talk-anymore-feat-selena-gomez clean-bandit-rockabye-ft-sean-paul-anne-marie dj-khaled-im-the-one-ft-justin-bieber-quavo-chance-the-rapper-lil-wayne dj-snake-let-me-love-you-ft-justin-bieber enrique-iglesias-subeme-la-radio-remix-remixlyric-video-ft-cnco feder-feat-alex-aiono-lordly give-you-up-feat-klp-crayon
    [Show full text]
  • LCGFT for Music Library of Congress Genre/Form Terms for Music
    LCGFT for Music Library of Congress Genre/Form Terms for Music Nancy Lorimer, Stanford University ACIG meeting, ALA Annual, 2015 Examples Score of The Four Seasons Recording of The Four Seasons Book about The Four Seasons Music g/f terms in LCSH “Older headings” Form/genre term Subject heading Operas Opera Sacred music Church music Suites Suite (Music) “Newer headings” Genre/form term Subject heading Rock music Rock music $x History and criticism Folk songs Folk songs $x History and criticism Music g/f terms in LCSH Form/genre term Children’s songs Combined with demographic term Buddhist chants Combined with religion term Ramadan hymns Combined with event term Form/genre term $v Scores and parts $a is a genre/form or a medium of performance $v Hymns $a is a religious group $v Methods (Bluegrass) $a is an instrument; $v combines 2 g/f terms Genre/form + medium of performance in LCSH Bass clarinet music (Jazz) Concertos (Bassoon) Concertos (Bassoon, clarinet, flute, horn, oboe with band) Overtures Overtures (Flute, guitar, violin) What’s wrong with this? Variations in practice (old vs new) Genre/form in different parts of the string ($a or $v or as a qualifier) Demographic terms combined with genre/form terms Medium of performance combined with genre/form terms Endless combinations available All combinations are not provided with authority records in LCSH The Solution: LCGFT + LCMPT Collaboration between the Library of Congress and the Music Library Association, Bibliographic Control Committee (now Cataloging and Metadata Committee) Genre/Form Task Force Began in 2009 LCMPT published February, 2014 LCGFT terms published February 15, 2015 567 published in initial phase Structure Thesaurus structure Top term is “Music” All terms have at least one BT, except top term May have more than one BT (Polyhierarchy) The relationship between a term and multiple BTs is “and” not “or” (e.g., you cannot have a term whose BTs are “Cat” and “Dog”) Avoid terms that simply combine two BTs (e.g.
    [Show full text]