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Performing the belief : sacred musical practice of the Kurdish Ahl-i Haqq of Gūrān /

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Abstract

Thesis (Ph.D. in Music)--University of California, Berkeley, Fall 2004. Includes bibliographical references (leaves 371-384).

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... For instance, the large tambourine (daf), 419 is considered to refer to the cycle of all created beings (dā'ra akwān)"; 420 the reed-flute (nay) 421 is associated with the Mevlevi ritual, 422 and the tanbur is a musical instrument played in the sacred music repertoire of the Kurdish Ahl-i Haqq. 423 The interpretation of "cycle of created beings" is given to in the practice of qasīda-khonī in which the daf as a circular drum, is believed to symbolize the universe and the rubob as the soul entering the universe, i.e. when the soul comes into being. 424 The Pamirī rubob, with its distinctive features, plays an essential role in the religious life of the Pamirī Ismailī Muslims. ...
Thesis
Diese Dissertation fokussiert auf die Musik- und Aufführungspraxis qasīda-khonī in der Autonomen Provinz Berg-Badachschan (GBAO). Untersucht wird dabei insbesondere der Stellenwert der Musik für die in dieser Region beheimateten Pamirī Ismaili Muslime, ihre historische Einbettung in soziale und kulturelle Kontexte sowie die Rolle von qasīda-khonī bei der Schaffung einer distinktiven geo-kulturellen Identität. Die GBAO, situiert im Hochgebirge Tajikistans, ist durch geographische, linguistische, ethnische, religiös-spirituelle und vor allem auch musikalische Besonderheiten geprägt. Die Musik der GBAO vereint vielfältige Stile und Genres und umfasst insbesondere die Aufführung religiöser Lieder zu verschiedenen ritualisierten Anlässen. Qasīda-khonī wird bei nächtlichen Totenwachen, Versammlungen am Donnerstagabend und nach dem Freitagsgebet gespielt und zur traditionellen Neujahrsfeier an Nawruz, im Ramadan und zu anderen religiösen Festen aufgeführt. Die Bevölkerung Badachschans gehört mehrheitlich der islamisch-schiitischen Gemeinschaft der Ismaeliten an, deren religiös-spirituellen Traditionen somit einen großen kulturellen Einfluss auf die Kultur des Pamir ausüben. Diese Dissertation untersucht die historischen, sprachlichen, geographischen und religiösen Faktoren, die qasīda-khonī als kulturelle und musikalische Praxis Zentralasiens prägten und verdeutlicht die soziale Funktion musikalischer Aufführungspraktiken. Qasīda-khonī, als zentrales Phänomen religiöser Praktiken und kulturellen Ausdrucks, ist somit auch ein Indikator für die besondere Beziehung von Aufführung und Identität.
... The dynamics and sensitivities surrounding the relationship of music and faith becomes apparent, for example, in the advice and efforts of Pir Seyid Nasreddin Haydari, a living saint of the Ahl-i Haqq, about the construction of the sacred tanbur and against its use as a meta. 56 Likewise, the letter of permission allowing Ali Akbar Moradi to release a four-CD album of sacred cem repertoire for the first time in history 57 as well as Seyid Nasreddin Haydari's recent announcement prohibiting unauthorised release of the sacred kelams in book or other formats 58 bear witness of these dynamics of music and faith. This further poses the question of how to approach both the musical and religious legacy of a community that believes in the common values of Ali and Hacı Bektaş Veli in particular; a legacy that we have thus far studied as 'music' , but which its practitioners see and hold as a holy relic in the context of Alevism. ...
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Researchers have used the term ‘Alevi music’ in definitions and general evaluations of the music performed within Alevi communities over a vast region extending from the Balkans to the Middle East. However, what defines the specific ‘Alevi’ character of performances, musemes, texts or instruments used, oftentimes remains unclear or caught up in essentialist approaches to the field of study. In this paper, therefore, the question of what ‘Alevi music’ is, is replaced by a discussion of how the concept is addressed and discoursively constructed. Discussing possibilities and constraints of determining the character of the very attribute ‘Alevi’, for example, in compounds such as ‘Alevi music’, it attempts to develop a methodological framework for further musicological inquiries in the field of Alevi studies.
... Recent studies in organology broaden the scope of the field, often emphasising the cultural context of musical instruments (Dawe, 2001;Qureshi, 2000); lived organology based on stories, historical meanings and relationship with the sacred (Hooshmandrad, 2004); or the 'social life' of musical instruments (Bates, 2012). Bates applies actor-network theory in analysing how instruments are more than simple objects applied in music making, but actually serve as complex actor-networks of meaning, history, and agency. ...
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