Nationalism, Nationalization, and the Egyptian Music Industry: Muhammad Fawzy, Misrphon, and Sawt Al-Qahira (Sonocairo)1
Nationalism, Nationalization, and the Egyptian Music Industry: Muhammad Fawzy, Misrphon, and Sawt al-Qahira (SonoCairo)1 Michael Frishkopf Asian Music, Volume 39, Number 2, Summer/Fall 2008, pp. 28-58 (Article) Published by University of Texas Press DOI: 10.1353/amu.0.0009 For additional information about this article http://muse.jhu.edu/journals/amu/summary/v039/39.2.frishkopf.html Access Provided by The University of Alberta at 05/08/11 2:13PM GMT Nationalism, Nationalization, and the Egyptian Music Industry: Muhammad Fawzy, Misrphon, and Sawt al-Qahira (SonoCairo)1 Michael Frishkopf Introduction The first large record companies, established in the late 19th century, were based in America, Britain, France, and Germany. By the early 20th century they had already established highly profitable global empires of production and distri- bution (including copious quantities of music recorded far from the corporate bases of power),2 extending along preexisting colonial networks (Gronow 1981, 1983, 56).3 Local challenges (often small, but symbolic) to this productive hegemony arose naturally in tandem with economic and technological development in colonized areas, as well as the rise of independence movements and national consciousness. If the significant forces underlying the appearance of locally owned recording companies among nations recently emerged from colonial domination were largely economic and technological, such developments were often catalyzed and facilitated—if not driven—by nationalist discourses of inde- pendence and self-sufficiency. However, so long as there existed a shared capital- ist framework, the local company might directly cooperate with the global one (for instance, pressing its records locally, or—conversely—sending masters to be pressed abroad).4 But nationalism could assume multiple and contradictory forms.
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