Hostname: page-component-8448b6f56d-t5pn6 Total loading time: 0 Render date: 2024-04-24T04:29:07.876Z Has data issue: false hasContentIssue false

Cross-cultural perspectives in popular music: the case of Afghanistan

Published online by Cambridge University Press:  10 November 2008

Extract

It is inevitable that the first issue of this yearbook will raise questions about the use of the term ‘popular music’. I do not believe that this question is going to be easy to answer and, as a precaution, I think we should regard quick and seemingly clearcut solutions with suspicion. In fact, we may eventually have to operate with intuitive, poorly defined and rather elastic definitions of popular music. Before we resort to that expedient, however, the problem of definition must be considered and discussed from various points of view.

Type
Research Article
Copyright
Copyright © Cambridge University Press 1981

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Baily, John, ‘Recent changes in the Dutār of Herat’, Asian Music, 8: 1 (1976), pp. 2964.CrossRefGoogle Scholar
Baily, John, ‘Professional and amateur musicians in Afghanistan’, The World of Music, 21: 2 (1979), pp. 4664.Google Scholar
Becker, Howard S., ‘The professional dance musician and his audience’, American Journal of Sociology, 57 (1951), pp. 136–44.CrossRefGoogle Scholar
Gregorian, Vartan, The Emergence of Modern Afghanistan. Politics of Reform and Modernism, 1880–1946 (Stanford, 1969).Google Scholar
Merriam, Alan P., The Anthropology of Music (Northwestern University Press, 1964).Google Scholar
Nettl, Bruno, ‘Persian popular music in 1969’, Ethnomusicology, 16 (1972), pp. 218–39.CrossRefGoogle Scholar
Slobin, Mark, ‘Music in contemporary Afghan society’, in Afghanistan in the 1970s, ed. Dupree, Louis and Linette, Albert (Praeger, 1974), pp. 239–48.Google Scholar