Relevant bibliographies by topics / Egyptian Singers

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Academic literature on the topic 'Egyptian Singers'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Egyptian Singers"

1

Cachia, Pierre. "Pulp Stories in the Repertoire of Egyptian Folk Singers." British Journal of Middle Eastern Studies 33, no. 2 (November 2006): 117–29. http://dx.doi.org/10.1080/13530190600953245.

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Gürata, Ahmet. "Tears of Love: Egyptian Cinema in Turkey (1938–1950)." New Perspectives on Turkey 30 (2004): 55–82. http://dx.doi.org/10.1017/s0896634600003915.

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When the movie [Domu' al-hubb (Tears of Love) (Turkish title: Aşkın Gözyaşları) (Muhammad Karim, 1936)] was first released in Istanbul's Şehzadebaşı district, the movie theatre's windows were broken and the traffic was jammed [because of the crowd]. The audience, who had not been able to watch any Turkish films for the last three years, loved this type of movie, which was not much different from those made by our theatre artists, and starring some Arab singers, and people wearing the fez and local dress (Özön 1962a, p. 760).
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Mekawy Ouda, Ahmed M. "The Votive Stela of the “Overseer of the Singers of the King” Nfr-rnpt (Egyptian Museum Cairo TR 14.6.24.17)." Bulletin de l'Institut français d'archéologie orientale, no. 116 (September 1, 2017): 177–89. http://dx.doi.org/10.4000/bifao.500.

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Monti, Ednardo Monteiro Gonzaga do. "Música da terra dos faraós: aprendizagens de Anttonieta de Souza numa viagem ao Egito." Revista de História e Historiografia da Educação 1, no. 2 (May 1, 2017): 106. http://dx.doi.org/10.5380/rhhe.v1i2.51169.

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O presente estudo tem como horizonte as aprendizagens da professora Anttonieta de Souza na viagem que realizou ao Egito na década de 1950. Com base na série de artigos intitulada “Minhas impressões sobre o Egito”, as perguntas que norteiam o texto são: quais tradições e culturas musicais egípcias a artista apresentou aos leitores da Revista do Conservatório Brasileiro de Música? O que aprendeu com os estudos arqueológicos e históricos sobre a música e os músicos da terra dos faraós? Os escritos da cantora dos palcos de concerto do Rio de Janeiro, publicados no periódico oficial da instituição de ensino superior de música que ela dirigia, permitem interpretar que as bases da tradição musical daquele povo eram os rituais religiosos, os mitos, as festas populares, as canções de trabalho, as fanfarras militares e as lendas. E que os estudos musicológicos sobre a antiguidade, com os quais Anttonieta teve contato na viagem, ressaltam que os instrumentos achados nos sítios arqueológicos possibilitaram repercutir timbres que há milhares de anos não soavam; e também conhecer as vestimentas e adornos feitos com flores de lótus que cantores e instrumentistas utilizavam; e ainda, adquirir informações sobre as grandes famílias de músicos que funcionavam como espécies de dinastias artísticas.Music from the pharaoh's land: learning of Antoinetta de Souza on a trip to Egypt. This study focuses on the learnings of Professor Anttonieta de Souza during her trip to Egypt in the 1950s. Based on the series of articles entitled “Minhas impressões sobre o Egito” (My impressions about Egypt), the questions guiding the study are as follows: What Egyptian traditions and musical culture did the artist present to the readers of the Revista do Conservatório Brasileiro de Música (Brazilian Conservatory of Music’s Magazine)? What did she learn from archaeological and historical studies about music and musicians of the Pharaohs’s Land? The writings of the singer who graced the stages of Rio de Janeiro, published in the official journal of the Conservatório Brasileiro de Música that she directed herself, allow for the impression that the nucleus of the Egyptian musical culture were the religious rituals, myths, the popular parties, Work songs, military fanfare and legends. What’s more, her work that focuses on the antique music culture of Egypt emphasizes that instruments found on archaeological sites made the reverberation of timbres possible that for thousands of years did not sound; investigates the garments and accessories made from lotus flowers that singers and instrumentalists used; and considers the large families of musicians who functioned as if they were, to some extent, artistic dynasties. Keywords: Travel; Music education; Egyptian culture.
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Salois, Kendra. "Performing Piety." American Journal of Islam and Society 31, no. 4 (October 1, 2014): 121–24. http://dx.doi.org/10.35632/ajis.v31i4.1074.

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Anthropologist Karin van Nieuwkerk’s latest book-length study addresses thephenomenon, widely discussed in Egyptian media since the 1990s, of celebratedsingers, actors, and dancers who withdraw from their professions to liveaccording to what they believe are Islamically sound principles. The author of“A Trade Like Any Other”: Female Singers and Dancers in Egypt (Austin:University of Texas Press, 1995), van Nieuwkerk draws on experience andcontacts from over two decades of research. But this project, as well as its subjectsand issues, presents new challenges for the ethnographer.Each of the three main sections describes the trends of a particular decade.The first wave of famous women to retire began in the late 1980s, and thusthe first section focuses on the shared rhetorics, ideologies, and activities of“repentant” artists. From the beginning, artists cannot be read as simply adoptingwholesale Salafist ideologies, since their personal turning points bore asmuch influence from “popular” or “Sufi” religiosity as from the “rationalist”tendencies of Islamists (p. 30). In the early 1990s, as retirements peaked,Egyptian media became central to both celebrities’ and fans’ understandingof this new trend. In this section, the author focuses on debates over secular(ist)aesthetics and changing discourses on women’s participation in public life.Two generations of preachers offer different rationales for women’s retirementsor re-entry into art, reflecting the sea change incited by a generation ofMuslim Brotherhood-allied “lay preachers” such as Amr Khalid during the1990s.The 2000s are depicted as a time of experimentation. Some veiled womenchoose to return to entertainment on their own terms; their productions caterto a growing market for entertainment that reflects elite consumption habitsand piety, overcoming a longstanding association of overt piety with impoverishedCairenes and villagers. Noting other authors’ commentaries and terminology,van Nieuwkerk follows Asef Bayat in calling this market“post-Islamist” – explicitly pious but unconnected to an Islamist dream of remakingthe state (p. 203). I particularly appreciated how her insights into thesimultaneous influence of American and Gulf consumer culture dislodge easyreadings of globalization as synonymous with Americanization (pp. 227-28).The full sweep of all three sections provides a cultural history of the Islamic ...
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Gordon, Joel. "Singing the pulse of the Egyptian-Arab street: Shaaban Abd al-Rahim and the geo-pop-politics of fast food." Popular Music 22, no. 1 (January 2003): 73–88. http://dx.doi.org/10.1017/s0261143003003052.

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Veteran Egyptian shaabi singer Shaaban Abd al-Rahim recently attained superstar status as the ‘interpreter of the pulse of the Egyptian-Arab street’ due to a pop hit proclaiming his hatred for Israel. Shaaban’s notoriety has been further enhanced by his abortive sponsorship of an ‘indigenous’ sandwich marketed in Egypt by McDonald's. Contracted by the fast food giant precisely because of his popularity, the singer was soon after dismissed in the wake of political pressure outside Egypt regarding the song that had made him a star. The deliberate turn to a singer like Shaaban for product sponsorship, especially for a commercial to be broadcast by state-run media, underscores weakening boundaries between what is ‘classically’ approved and what is still considered to be ‘vulgar’ or ‘low-class’ music, however popular it is among wide sectors of the population. For the moment, at least, Shaaban has become a figure with whom even a scornful intelligentsia must contend.
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Danielson, Virginia. "New nightingales of the Nile: popular music in Egypt since the 1970s." Popular Music 15, no. 3 (October 1996): 299–312. http://dx.doi.org/10.1017/s0261143000008291.

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‘Why buy all those?!’ a street vendor in Cairo asked as I picked out photographs of young singing stars he had for sale. ‘Take more of these,’ he suggested, proffering stills from the 1950s films of Abd al-Ḥalīm Hāfiẓ and photos of Muhammad Abd al-Wahhāb and Umm Kulthūm. ‘Those were really good days … the old singers were really good singers. There's nothing like that now. Umm Kulthūm, Abd al-Ḥalīm, they're all gone and the rest are kalām fāḍī [literally ‘empty talk’, indicating something nonsensical or of little value].’ The vendor's opinions resonate among Egyptians. When asked about music in Egypt now, listeners frequently respond by saying: ‘There are no good voices these days’; ‘The singers are all alike – you can't tell them apart’; ‘After Umm Kulthūm, Abd al-Ḥalīm, Farīd and Abd al-Wahhāb died, there was no one’.
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Sousa, Rogério, and Vinnie Nørskov. "Tabasety, the Temple Singer in Aarhus." Trabajos de Egiptología. Papers on Ancient Egypt, no. 9 (2018): 207–24. http://dx.doi.org/10.25145/j.tde.2018.09.09.

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An Egyptian burial assemblage in the collection of the Museum of Ancient Art and Archaeology of the University of Aarhus, Denmark, comprises an anthropoid coffin, a mummy-cover and a mummy. Several analyses have been carried out on the human remains since their arrival to the Museum in 1950 but these results have never been published nor critically accessed from an Egyptological perspective. Notwithstanding the unique opportunity provided by this burial assemblage to carry out the integrated study of the funerary equipment and the human remains, only recently has the coffin set been thoroughly analysed, described and published. This paper presents the results obtained from former anthropological studies with an Egyptological assessment of the data, comparing them with the information provided by the burial equipment. The critical integration of this data reveals important clues regarding the special social status held by an elderly woman suffering from a severe and chronic disability within the priesthood of Amun during the Twenty-first Dynasty.
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Bordelon, Candace A. "Finding “the Feeling” Through Movement, Music, and Memory: Oriental Dance, Tarab, and Umm Kulthūm." Congress on Research in Dance Conference Proceedings 2012 (2012): 12–21. http://dx.doi.org/10.1017/cor.2012.2.

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In the tradition of Arab music, artists aspire to generate tarab, an experiential quality described by ethnomusicologist A. J. Racy as a merger between music and emotional transformation. Although there is no exact equivalent in Western language, the most common English words used to capture the meaning of tarab are “ecstasy,” “transcendence,” and “enchantment.” Music frequently identified as being tarab music includes that of Egyptian singer Umm Kulthūm, a towering figure in twentieth century Arab music. Oriental dance (the name used in Egypt, but commonly referred to as belly dance) is customarily performed to this genre of music, which dancers acknowledge as an inseparable part of the dance. This study unravels how the Oriental dancer, in tandem with the music of Umm Kulthūm, engages with the audience to create the experience of tarab—a deeply emotional state generated by the invocation of personal, cultural, and public memories that is often collectively experienced by dancer, musicians, and audience. This study is based on interviews with four Egyptian dancers and four North American dancers who performed extensively in the Middle East. This research, while both building on and theorizing from the current ethnomusicological research on tarab music, foregrounds the dancer's voice and her experiences while embodying and performing to this music, offering a new analysis that brings the dancer into the discourse and expands our understanding of Oriental dance as a performance and aesthetic experience apart from the traditional notions of Orientalism.
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Aly, Hossam Eldeen. "Our aim is successful interstate interaction." Diplomatic Ukraine, no. XIX (2018): 315–26. http://dx.doi.org/10.37837/2707-7683-2018-19.

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The interview covers the diplomatic career of Hossam Eldeen Aly, Ambassador Extraordinary and Plenipotentiary of the Arab Republic of Egypt to Ukraine. The Ambassador shares his experience of diplomatic activities in other countries and the difficulties he faced while working in the realm of diplomacy. According to the Ambassador, one of the priorities of the team of the diplomatic mission of the Arab Republic of Egypt in Ukraine is to maintain good and mutually beneficial bilateral relations in the realms of economy, culture, tourism, and industry. The Ambassador singles out two promising ways for cooperation. The first one is trade. Trade statistics indicate that Egypt is the key partner for Ukraine in Africa and in the Middle East. Thus, many Egyptian goods of high quality are poised to enter the Ukrainian market. These are high competitive goods that favorably influence the economies of the two states and allow the parties to expand their future cooperation in this domain. Another potential way to broaden collaboration is tourism. From this perspective, Ukraine is one of the main partners of the Arab Republic of Egypt. The Ambassador hopes the direct flights between the capitals of the two states will contribute to the increase in the number of tourists and expansion of travel destinations throughout Egypt. The Ambassador worries about activities of terrorist units at the regional level in different parts of the world that also take place in Egypt. The Arab Republic takes counter-terrorist measures in every possible way in order to free the country from this threat. The Ambassador stresses that Ukrainians and Egyptians have similar mindset and likewise strive for a better future. Bilateral cooperation, in particular the desire to ensure welfare for the peoples of Ukraine and Egypt, will boost the spheres for cooperation between the two states. Keywords: Egypt, counter-terrorism, bilateral cooperation, economic relations of Egypt and Ukraine, tourism, Ukraine.
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Books on the topic "Egyptian Singers"

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Umm Kulthūm: Ḥayātuhā wa-aghānīhā. Ṭarābulus: al-Muʾassasah al-Ḥadīthah lil-Kitāb, 1999.

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The voice of Egypt: Umm Kulthūm, Arabic song, and Egyptian society in the twentieth century. Chicago: University of Chicago Press, 1997.

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Danielson, Virginia. "The Voice of Egypt": Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century (Chicago Studies in Ethnomusicology). University Of Chicago Press, 1998.

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Danielson, Virginia. "The Voice of Egypt": Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century (Chicago Studies in Ethnomusicology). University Of Chicago Press, 1998.

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Ready, Jonathan L. The Homeric Simile in Comparative Perspectives. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802556.001.0001.

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The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia investigates both the construction of the Homeric simile and the performance of Homeric poetry from neglected comparative perspectives. The first part considers similes in five modern oral poetries—Rajasthani epic, South Sumatran epic, Kyrgyz epic, Bosniac epic, and Najdi lyric poems from Saudi Arabia—and studies successful performances by still other verbal artists, such as Egyptian singers of epic, Turkish minstrels, and Chinese storytellers. In applying these findings to the Homeric epics, the second part offers a new take on how the Homeric poets put together their similes and alters our understanding of how the poets displayed their competence as performers of verbal art. Engaging intensively with a diverse array of scholarship from outside the field of classics, from folkloristics to cognitive linguistics, this book changes how we view not only a central feature of Homeric poetry but also the very nature of Homeric performance.
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Dominique, Valbelle, Leclant Jean, and Fondation Singer-Polignac, eds. Le décret de Memphis: Colloque de la Fondation Singer-Polignac à l'occasion de la célébration du bicentenaire de la découverte de la Pierre de Rosette, Paris, 1er juin 1999. Paris: Fondation Singer-Polignac, 2000.

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Le decret de Memphis: Colloque de la Fondation Singer-Polignac a l'occasion de la celebration du bicentenaire de la decouverte de la Pierre de Rosette, Paris, 1er juin 1999. Diffusion, De Boccard, 2000.

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Book chapters on the topic "Egyptian Singers"

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Waugh, Earle H. "REFLECTIONS ON THE INTERACTION OF SAINT AND SINGER IN EGYPTIAN DHIKR." In Manifestations of Sainthood in Islam, edited by Grace Martin Smith and Carl W. Ernst, 129–44. Piscataway, NJ, USA: Gorgias Press, 2011. http://dx.doi.org/10.31826/9781463233709-013.

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"Egyptian singers and performers: An integral relation to the coffeehouse." In The Egyptian Coffeehouse. I.B. Tauris, 2021. http://dx.doi.org/10.5040/9780755635276.ch-006.

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Cachia, Pierre. "Pulp Stories in the Repertoire of Egyptian Folk Singers." In Exploring Arab Folk Literature, 119–28. Edinburgh University Press, 2011. http://dx.doi.org/10.3366/edinburgh/9780748640867.003.0010.

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Mestyan, Adam. "Hārūn al-Rashīd under Occupation." In Arab Patriotism. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691172644.003.0007.

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This chapter argues that post-1882, Arab patriotism served simultaneously to reconfigure and reinvent the khedivial regime. During this period, the full-fledged practice of civic patriotism in Arabic was firmly established. The two collectivities of audience (a physical experience) and nation (an imagined community) began to overlap. The understanding of the audience as a closed and private group in the Muslim entertainment tradition transmuted into the understanding of the audience as a public community. Ultimately, the audience stood for the collective of the homeland; sometimes simply expressed as “the people of the East.” The cooperation of Egyptian singers with Syrian actors and writers was decisive in the popularization of Arabic musical theater; the patriotism they expressed often appealed not so much to territorial unity but to a higher idea of Arab solidarity in Ottoman colors to gain imagined sovereignty against the British.
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Sheikholeslami, Cynthia May. "A Libyan singer in the Karnak temple choir." In Ancient Egyptian Coffins, 119–28. Oxbow Books, 2018. http://dx.doi.org/10.2307/j.ctvh9w0cw.17.

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Booth, Marilyn. "Violent Romances: The Bodily Drama of Patriarchal Trauma." In Classes of Ladies of Cloistered Spaces. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694860.003.0008.

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This chapter considers the presence of violence in a volume of women’s biography, linking it to a critique of patriarchy that undergirds Fawwaz’s project as a public intellectual. It assesses the volume’s use of tragic romance as a political feminist strategy, drawing on work by Joan Wallach Scott, Helene Moglen, and others and theorizing a concept of ‘patriarchal trauma’. It focuses on biographies of the Egyptian singer Almas (or Almaz), Persian Babi activist Qurrat al-‘Ayn, legendary Frenchwoman Genevieve de Brabant, Cleopatra VII, Jane Digby, a Sicilian princess named Diya’, and others.
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Bohlman, Philip V. "3. Between myth and history." In World Music: A Very Short Introduction, 36–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198829140.003.0003.

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‘Between myth and history’ begins with the 1932 Cairo Congress in Arab Music. The Arab contingent sought advice on progress, while the European delegates romanticized traditional Arab music. These contradictions, and Islam’s relationship with music, shaped the life-stories of three figures: 14th-century polymath Ibn Khaldūn; 20th-century Egyptian singer Umm Kulthūm; and ethnomusicologist Robert Lachmann, who found musical echoes of Muslim and Jewish pilgrims in Djerba, where he had been expecting to find local music fixed in time by isolation. The Mediterranean has inspired written and sung epics, which were translated into architecture and politics, taking them from myth into history.
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