"The Voice of Egypt" · Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century (Chicago Studies in Ethnomusicology) by Danielson, Virginia -- Read -- Imperial Library of Trantor

Index

Some Questions Speech about Music Listening Performing “Popular” Music The Individual Social Issues

2 Childhood in the Egyptian Delta

“Min al-Mashāyikh” Performing Experience The Audiences

3 Beginning in Cairo

Music in Cairo The “Bedouin” Singer An Education in Music and Performance A Turning Point 1926 and Beyond

4 Media, Style, and Idiom

Taking a Direction in Style Producing Concerts Negotiating the Public Recordings and Radio Making Films Developing an Idiom

5 “The Golden Age of Umm Kulthūm” and Two Cultural Formations

The 1940s Musical Populism New Films Neoclassicism The Impact of the New Qasā’id and the Populist Songs

6 “The Voice of Egypt”: The Artists’ Work and Shared Aesthetics

Building the Model of the Song The Concerts “Her Voice … !” “But Can You Understand the Words?” “She Was Good Because She Could Read the Qur’ān” “She Gave Us Back the Qasīda” “She Never Sang a Line the Same Way Twice”.

7 Umm KulthŪM and A New Generation

The National Songs and “Rābi‘a ’l-‘Adawiyya” “A New Stage” Collaboration with ‘Abd al-Wahhāb The Resilience of al-Sunbātī’s Songs The Ughniyya The Widening Market The Concerts for Egypt “The Fallahiin Are My Self” The Repertory Not Sung

Legacies of a Performer Glossary Notes References Sources for the Illustrations Index Galleries of photographs