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The Lost ParadiseAndalusi Music in Urban North Africa$
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Jonathan Glasser

Print publication date: 2016

Print ISBN-13: 9780226327068

Published to Chicago Scholarship Online: September 2016

DOI: 10.7208/chicago/9780226327372.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 19 September 2019

Ambiguous Revivals

Ambiguous Revivals

Chapter:
(p.117) 4 Ambiguous Revivals
Source:
The Lost Paradise
Author(s):

Jonathan Glasser

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226327372.003.0007

This chapter considers the origins of the project of Andalusi musical revival in turn-of-the-century Algeria. An examination of coinciding efforts to publish and transcribe elements of the Andalusi genre complex shows revival to have emerged from vigorous dialogue between indigenous music aficionados and a range of government officials and settler intellectuals. These efforts made use of new print and recording technologies; at the same time, these technologies were central to revivalists' anxieties about the future of Andalusi music. This dynamic becomes particularly clear through the story of the collaboration between the Algerian Jewish musician Edmond Yafil and the French journalist Jules Rouanet, and their subsequent dispute regarding their relationship with the late shaykh Mohamed Ben 'Ali Sfindja. This microhistory demonstrates the degree to which the revival of musical patrimony was tied together with problems of embodiment, genealogical authority, and the powers of new technologies.

Keywords:   technology, print, revival, phonograph recording, transcription, colonialism, early twentieth century, public sphere, copyright

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