This book examines the historically overlooked motrebi milieu, with its marginalized characters, from luti to gardan koloft and mashti, as well as the tenacity of motreb who continued their careers against all odds. They then turn to losanjelesi, the most pervasive form of Iranian popular music.
This book examines the historically overlooked motrebi milieu, with its marginalized characters, from luti to gardan koloft and mashti, as well as the tenacity of motreb who continued their careers against all odds. They then turn to losanjelesi, the most pervasive form of Iranian popular music.
GJ Breyley is an Australian Research Council DECRA Fellow at Monash University and convener of the Central and West Asia and Diasporas research network. Sasan Fatemi is Associate Professor of Ethnomusicology at the University of Tehran, Iran, and editor of Mahoor Quarterly.
Inhaltsangabe
Foreword Anthony Shay Chapter 1: "Producing Pleasure:" Tehran's Motreb and Ruhowzi Chapter 2: Contradictory Characters and Marginalization: From Luti to Gardan Koloft and Mashti Chapter 3: The Repertoires of Motrebi Music Chapter 4: The Evolution of the Motrebi Milieu Chapter 5: The Evolution of Iranian Popular Music Chapter 6: Before the Revolution: Television, "the West" and "Modernity" (1965-79) Chapter 7: After the Revolution: The Los Angeles Factor (1979-97) Chapter 8: Made in Iran: New Popular Music (1997-2014) Conclusion
Foreword Anthony Shay Chapter 1: "Producing Pleasure:" Tehran's Motreb and Ruhowzi Chapter 2: Contradictory Characters and Marginalization: From Luti to Gardan Koloft and Mashti Chapter 3: The Repertoires of Motrebi Music Chapter 4: The Evolution of the Motrebi Milieu Chapter 5: The Evolution of Iranian Popular Music Chapter 6: Before the Revolution: Television, "the West" and "Modernity" (1965-79) Chapter 7: After the Revolution: The Los Angeles Factor (1979-97) Chapter 8: Made in Iran: New Popular Music (1997-2014) Conclusion
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