![hazara songs hazara songs](https://i1.sndcdn.com/artworks-000467853375-p82oiz-t500x500.jpg)
1970 is the only study of Central Asian shamanism’s survival in an Afghan context. Slobin 1971 analyzes text-tune relationships in one body of Badakhshani song. Slobin 1976 is a region-wide survey, recently made available online through Slobin 2002, a multimedia website, and the more comprehensive database of The Mark Slobin Fieldwork Archive: Music in the Afghan North, 1967–1972. Slobin 1970 summarizes the correlation between the types of towns in the North (local market town, crossroads town, administrative center, regional center) and their musical life. Slobin 1969 is the first dissertation on Afghan music, focusing principally on the description, distribution, and genres of instrumental music of the North. The Northern Provinces are perhaps the best-covered region of Afghanistan. 5 of The Garland Encyclopedia of World Music. “Southeastern Afghanistan.” In South Asia: The Indian Subcontinent. Performance of Pashto songs emerging from wartime conditions can be seen in John Baily’s documentary film Amir: An Afghan Refugee Musician’s Life in Peshawar Pakistan (1985).īaily, John, and Nabi Misdaq. There are also long epic songs, music for the attan dance, considered the “national dance” of Afghanistan, and other genres. A main form of sung folk poetry is the two-line, pithy landai (with various spellings), for which there is a condensed account on Wikipedia. Musici folkloric de Afghanistan is a locally produced miscellany of sources of uncertain date and motivation. Hoerburger 1969, though based on short fieldwork, is a benchmark, while Baily and Misdaq 2000 offers somewhat specialized surveys in condensed form. Though the Pashtuns are the largest ethnic group of Afghanistan, the literature on their music is the smallest. “The Role of Music in the Creation of an Afghan National Identity, 1923–73.” In Ethnicity, Identity and Music.
![hazara songs hazara songs](https://i.ytimg.com/vi/SVdG4gY04Ok/hqdefault.jpg)
Küppers and Bleier 2016 is a set of short contributions from a 2014 conference.īaily, John.
![hazara songs hazara songs](https://c.saavncdn.com/945/Dildar-Tabassum-Sajjad-Ali-Hazara-Vol-03-Pashto-2011-500x500.jpg)
The works in Afghan languages remain untranslated and unavailable for review. Qanun e tarab takes up only the period before the importation of Indian musicians in the mid-19th century. Shahrani 2010 covers a wide variety of topics, from biographies of musicians through Islam’s relationship to music and how Afghan music fits into the regional context. Sakata 2012 offers a general-audience account of Afghan music history. Sakata 1985 investigates the category of “musician” in general. Baily 2001, commissioned by the organization Freemuse, surveys earlier history in the context of the Taliban era of 1996–2001, with its extreme suppression of musical expression. Baily’s two essays ( Baily 1994, Baily 2015) offer fine coverage of recent decades. Beliaev 1960, the only Soviet study of Afghanistan, is skimpy. Sarmast 2009 is the only extended attempt to provide a history of music in Afghanistan in English. Sakata, Baily, Doubleday, and Sarmast assisted with the preparation of this article. As a result of this turbulent history, nearly all the writing on the topic comes from the pens of only five scholars: John Baily, Veronica Doubleday, Hiromi Lorraine Sakata, Felix Hoerburger, and Mark Slobin. The post-2001 situation saw revival of traditions, but no new literature on music, with the notable exception of the historical survey Sarmast 2009 (cited under General Overviews). For music, the worst period was under the rule of the Taliban (1996–2001), who actively suppressed music, which survived mainly in clandestine domestic performance and public religious/propaganda formats. Massive dislocation and destruction eroded social customs and networks, cultural monuments, and sources. Only a few scholars were able to complete fieldwork before the tragic cycle of invasions and wars began in 1979. But the kingdom was not open to Western researchers until the 1950s. European travelers described Kabul’s 19th-century court music and offered stray, casual accounts of folk musics. The citations in this article are only for modern Afghanistan proper. Due to the cross-regional setting, Afghanistan’s music cultures and literature overlap with three neighboring zones: the Iranian, the Central Asian, and the South Asian. The literature on the musics of the peoples of Afghanistan is recent and small.