Difference between revisions of "Bibliography and AV materials"

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(Selected discography)
(Films)
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==Films==
 
==Films==
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1.Amir: an Afghan refugee musician's life in Peshawar, Pakistan. Directed and edited by John Baily. Royal Anthropological Institute, 1985. VHS (52 min.)
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2.Breaking the Silence: Music in Afghanistan. Directed by Simon Broughton. BBC, 2002.
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3.Mystic Iran: the Unseen World. Directed by Aryana Farshad. Wellspring, 2002.
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4.The art of the Afghan rubab: Homayun Sakhi. Music of Central Asia, vol. 3. Smithsonian Folkways Recordings, 2005.
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5.Invisible Face of the Beloved. Classical Music of the Tajiks and Uzbeks. Smithsonian Folkways Recordings, 2005 (Music of Central Asia, vol. 2). 
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6.Mountain Music of Kyrgyzstan: Tengir-Too. Smithsonian Folkways Recordings, 2005 (Music of Central Asia, vol. 1). 
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7.Bardic Divas: Women's Voices in Central Asia.  Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 4). 
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8.The Badakhshan Ensemble: Song and Dance from the Pamir Mountains.  Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 5). 
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9.Alim and Fargana Qasimov: Spiritual Music of Azerbaijan.  Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 6). 
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10.Wedding. Directed and edited by Federico Spinetti. InTheMiddleofAsia, 2004.

Revision as of 00:59, 7 January 2008

Resources

There are no required textbooks for this course. A number of relevant books, articles and audio-visual materials (including sound recordings and films) are on reserve at the Music Library. Please note that some of the articles required for this course are available online through the University of Alberta library database. Relevant bibliographic or audio-visual materials that may not be available at University Libraries will be handed out in class, included in the course mediawiki page or made accessible in my office. Also, substantial additional audio material from my personal collection and field recordings will be used.

Useful journals: Ethnomusicology; Yearbook for Traditional Music (formerly Journal of the International Folk Music Council); The World of Music; Asian Music; Ethnomusicology Forum (formerly British Journal of Ethnomusicology).

Dictionaries/Encyclopedias: The New Grove Dictionary of Music and Musicians (Grove music online); The Garland Encyclopedia of World Music.

Websites: Society for Ethnomusicology: http://www.ethnomusicology.org British Forum of Ethnomusicology: http://www.thebfe.org.uk SmithsonianGlobalSound: http://internal.ualberta2.classical.com.login.ezproxy.library.ualberta.ca/ International Council for Traditional Music: http://www.ethnomusic.ucla.edu/ICTM/ http://afghanistan.wesleyan.edu/

Bibliography

Albright, Charlotte (1976) 'The Azerbaijani 'Ashiq and His Performance of a Dastan', Iranian Studies, 9, 220-247.

Ashrafi, M.F and Sultanova, R. (2001) 'Uzbekistan. Opera, ballet, orchestral and chamber music', in the New Grove Dictionary of Music and Musicians (online via www.library.ualberta.ca/databases/).

Becker, Judith, (2004) Deep Listeners: Music, Emotion, and Trancing. Bloomington and Indianapolis: Indiana University Press.

Baily, John (1981) 'Cross-cultural Perspectives in Popular Music: the case of Afghanistan', Popular Music, 1, 105-22.

____(1994) 'The Role of Music in the Creation of an Afghan National Identity, 1923-73', in Stokes, Martin (ed.) Ethnicity, Identity and Music. The Musical Construction of Place. Oxford/New York: Berg, 45-60.

____(2001) Can you stop the birds singing? The censorship of music in Afghanistan. Copenhagen: Freemuse.

____(2005) 'So Near, S Far: Kabul's music in Exile”, Ethnomusicology Forum, 14/2, 213-233.

Beeman, William O. (1976) 'You can take music out of the country, but...: the dynamics of change in Iranian musical tradition', Asian Music, 7/2, 6-19.

Berg, Gabrielle Rachel van den (2004) Minstrel Poetry from the Pamir Mountains: a study of the songs and poems of the Ismailis of Tajik Badakhshan. Wiesbaden: Reichert.

Blackwell, Carole (2001) Tradition and Society in Turkmenistan: gender, oral culture and song. Richmond, Surrey: Curzon.

Blum, Stephen (1972b) 'The concept of the 'Âsheq in Northern Khorasan', Asian Music, 4/1, 27-47.

____(1974) 'Persian folksong in Meshhed, Iran (1969)', Yearbook of the International Folk Music Council, 6, 86-114.

____(1978) 'Changing Roles of Performes in Meshhed and Bojnurd, Iran', in Nettl, B. (ed.) Eight Urban Musical Cultures. Urbana: University of Illinois Press, 19-95.

____(2001a), ‘Central Asia’, in the New Grove Dictionary of Music and Musicians (online via www.library.ualberta.ca/databases/).

____(2001b) 'Iran: Regional and Popular Traditions', in the New Grove Dictionary of Music and Musicians (online via www.library.ualberta.ca/databases/).

____(2002) 'Iran: An Introduction', in The Garland Encyclopedia of World Music, Vol. 6, The Middle East. NY/London: Routledge, 823-38.

Caron, Nelly (1975) 'The Ta'zieh: The Sacred Theatre of Iran', The World of Music, 17/4, 3-10.

Caton, Margaret (1988) 'Melodic Contour in Persian Music, and Its Connection to Poetic Form and Meaning', in Caton, M. and Neil Siegel (eds.) Cultural Parameters of Iranian Musical Expression. Redondo Beach, California: Institute of Persian Performing Arts, 18-26.

____(2002a) 'The Concept of Mode in Iranian Music: Shur', in The Garland Encyclopedia of World Music, Vol. 6, The Middle East. NY/London: Routledge, 59-76.

____(2002b) 'Performance Practice in Iran: Radif and Improvisation', in The Garland Encyclopedia of World Music, Vol. 6, The Middle East. NY/London: Routledge, 129-143.

Chehabi, H.E. (1999) 'From Revolutionary Tasnif to Patriotic Surud: Music and Nation-building in Pre-World War II Iran', Iran, 37, 143-154.

____(2000) 'Voices Unveiled: Women Singers in Iran', in Matthee, R. et al. (eds.) Iran and Beyond. Essays in Middle Eastern History in Honor of N.R. Keddie. Mazda, CA, 151-166.

Chelkowski, Peter (1991) "Popular entertainment, media and social changes in 20th century Iran', in The Cambridge History of Iran, vol 7.

Czekanowska, Anna (1982) 'Aspects of the Classical Music of Uighur People: Legend versus Reality', Asian Music 14/1, 94-110.

DeBano, Wendy S. (2005a) 'Introdution: Music and Society in Iran, A Look at the Past and Present Century', Iranian Studies, 38/3, 367-72.

____(2005b) 'Enveloping Music in Gender, Nation, and Islam: Women's Music Festivals in Post-Revolutionary Iran', Iranian Studies, 38/3, 441-62.

Djumaev, Alexander (1993) 'Power Structures, Culture Policy, and Traditional Music in Soviet Central Asia", Yearbook for Traditional Music 25, 43-66.

____(2002) 'Sacred Music and Chant in Islamic Central Asia', in The Garland Encyclopedia of World Music, Vol. 6, The Middle East. NY/London: Routledge, 935-47.

____(2005) 'Musical Heritage and National Identity in Uzbekistan', Ethnomusicology Forum, 14/2, 165-184.

Dodhoudoyeva, Larisa (2001) 'Tajikistan. Western-inspired music', in the New Grove Dictionary of Music and Musicians (online via www.library.ualberta.ca/databases/).

Doubleday, Veronica (1988) Three Women of Herat. London: Cape Press.

____(1999) 'The Frame Drum in the Middle East: Women, Musical Instruments and Power', Ethnomusicology, 43/1, 101-134.

During, Jean (1982a) 'Music, Poetry and the Visual Arts in Persia', the World of Music, 24/1, 72-87.

____(1982b) 'Revelation and spiritual audition in Islam', the World of Music, 24/3, 68-82.

____(1988) 'Emotion and Trance: Musical Exorcism in Baluchestan', in Caton, M. and Niel Siegel (eds.) Cultural Parameters of Iranian Musical Expression. Redondo Beach, California: Institute of Persian Performing Arts, 36-46.

____(1997b) 'African Winds and Muslim Djinns: Trance, Healing, and Devotion in Baluchistan', Yearbook for Traditional Music, 29, 39-56.

____(1997c) 'Hearing and understanding in the Islamic gnosis', the World of Music, 39/2, 127-37.

____(2002a) 'Tradition and History: The Case of Iran', in The Garland Encyclopedia of World Music, Vol. 6, The Middle East. NY/London: Routledge, 853-64.

____(2002b) 'Music, Trance, and Therapy in Baluchistan', The Garland Encyclopedia of World Music, Vol. 6, The Middle East. NY/London: Routledge, 881-890.

____(2005a) 'Power, Authority and Music in the Cultures of Inner Asia', Ethnomusicology Forum, 14/2, 143-164.

____(2005b) 'Third Millenium Tehran: Music!', Iranian Studies, 38/3, 373-98.

During, Jean, Z. Mirabdolbaghi and D. Safvate (1991) The Art of Persian Music. Washington: Mage Publishers.

Elsner, Jürgen (ed.) (1989) Maqam – Raga – Zeilenmelodik: Konzeptionen und Prinzipien der Musikproduktion. Berlin: International Council for Traditional Music.

____(1992) Regionale Maqâm-Traditionen in Geschichte und Gegenwart, Teil 1/2. Berlin: International Council for Traditional Music.

____(1997) The structure and idea of maqam: historical approaches. Tampere: ICTM/University of Tampere, Dept. of Folk Traditions.

Elsner, Jürgen (1992) 'On the structure of the Uzbek-Tajik Shashmaqam', in Elsner, J. & Jähnichen, G. (ed.), Regionale Maqâm-Traditionen in Geschichte und Gegenwart, Teil 1. Berlin: International Council for Traditional Music, 163-190.

Farhat, Hormoz (1990) The Dastgâh Concept in Persian Music. Cambridge: Cambridge University Press.

____(2001) 'Iran. Classical Traditions', in the New Grove Dictionary of Music and Musicians (online via www.library.ualberta.ca/databases/).

Fatemi, Sasan (2005) 'Music, Festivity, and Gender in Iran from the Qajar to the Early Pahlavi Period', Iranian Studies, 38/3, 399-416.

Feldman, Walter (1992) ‘Central Asia. Music’, in Yarshater, Ehsan (ed), Encyclopaedia Iranica, 5, 240-242.

Frolova-Walker, Marina (1998) '"National in Form, Socialist in Content": Musical Nation-Building in the Soviet Republics', Journal of the American Musicological Society, 51/2, 331-371.

Gerson-Kiwi Edith (1950) ‘Wedding Dances and Songs of the Jews of Bokhara’, Journal of the International Folk Music Council, 2, 17-8.

Gronow, Pekka (1975) 'Ethnic Music and Soviet Record Industry', Ethnomusicology, 19/1, 91-99.

Hae-Kyung, Um(2000) 'Listening Patterns and Identity of the Korean Diaspora in the Former USSR”, British Journal of Ethnomusicology, 9/2, 121-142.

Harris, Rachel (2002, with Rahila Dawut) 'Mazar festivals of the Uyghurs: music, Islam and the Chinese state', British Journal of Ethnomusicology, 11/1, 101-118.

____(2002) 'Cassettes, bazaars and saving the nation: the Uyghur music industry in Xinjiang, China', in T. Craig and R. King (eds.) Global Goes Local: Popular Culture in Asia. Vancouver: University of British Columbia Press, 265-283.

____(2004) Singing the Village: Music, Memory, and Ritual amongst the Sibe of Xinjiang. Oxford & New York: Oxford University Press.

____(2005) 'Reggae on the Silk Road: the Globalization of Uyghur Pop', The China Quarterly, 183, 627-643.

Jung, Angelica (1989) 'The maqam principle and the cyclic principle in the Uzbek-Tajik Shashmaqam', in Elsner, J. (ed.) Maqam – Raga – Zeilenmelodik Konzeptionen and Prinzipien der Musikproduktion. Berlin: International Council for Traditional Music, 200-215.

Karomatov, Faizullah (1983) 'Uzbek Instrumental Music', Asian Music 25/1, 11-53.

____(1992) 'Traditions of Maqamat in Central Asia', in Elsner, J. & Jähnichen, G. (eds.), Regionale Maqâm-Traditionen in Geschichte und Gegenwart, Teil 2. Berlin: International Council for Traditional Music, 306-311.

Karomatov, Faizullah & Rajabov, I. (1981) 'Introduction to the Shashmaqâm', Asian Music 13/1, 97-118.

Khashimov, Abdulaziz (1992) 'On Ikki Muqam and its Local Features (on the example of the structure of the Ili muqams)', in Jurgan Elsner (ed.) Regionale Maqam Traditionen in Geschichte und Gegenwart. ICTM, 312-344.

Koen, Benjamin D. (2003a) Devotional Music and Healing in Badakhshan, Tajikistan: Preventive and Curative Practices. The Ohio State University: PhD dissertation.

____(2003b) 'The Spiritual Aesthetic in Badakhshani Devotional Music', The World of Music, 45/3, 77-90.

____(2005) 'Medical Ethnomusicology in the Pamir Mountains: Music and Prayer in Healing', Ethnomusicology, 49/2, 287-311.

Kosacheva, Rimma (1990), ‘Traditional Music in the Context of the Socio-Political Development in the USSR’, Yearbook for Traditional Music, 22, 17-19.

Levin, Theodore (1979) ’Music in modern Uzbekistan: the convergence of Marxist aesthetics and Central Asian tradition’, Asian Music, 12 (1), 149-158.

____(1984) The Music and Tradition of the Bukharan Shashmaqam in Soviet Uzbekistan. Princeton University: unpublished PhD thesis.

____(1992) 'Katta Ashula, Haggoni, Shi'ra: Great little traditions from Transoxiana', in Elsner, J. & Jähnichen, G. (ed.), Regionale Maqâm-Traditionen in Geschichte und Gegenwart, Teil 2. Berlin: International Council for Traditional Music, 355-376.

____(1993) ‘The Reterritorialization of Culture in the new Central Asian States: a Report from Uzbekistan’, Yearbook for Traditional Music, 25, 51-59.

____(1996) The Hundred Thousand Fools of God. Musical Travels in Central Asia (and Queens. New York). Bloomington, Indiana: Indiana University Press.

____(2001) 'Uzbekistan. Urban traditions; Rural Traditions; Soviet and post-Soviet Popular music', in the New Grove Dictionary of Music and Musicians (online via www.library.ualberta.ca/databases/).

____(2001a) 'Making Marxist-Leninist Music in Uzbekistan', in R. Burckhardt Qureshi (ed.) Music and Marx: Ideas, Practice, Politics. New York: Garland.

____(2002) 'Central Asia: Overview', in The Garland Encyclopedia of World Music. Vol. 6. The Middle East. NY/London: Routledge, 895-906.

Levin, Theodore and Sultanova, Razia (2002) 'The Classical Music of Uzbeks and Tajiks', in in The Garland Encyclopedia of World Music. Vol. 6. The Middle East. NY/London: Routledge, 907-20.

Lewisohn, L. (1997) 'The sacred music of Islam: Sama' in the Persian Sufi tradition', British Journal of Ethnomusicology, 6, 1-33.

Mackerras, Colin (1985a) 'Uygur Performing Arts in Contemporary China', The China Quarterly, 101, 58-77.

____(1985b) 'Traditional Uygur Performing Arts', Asian Music, 16/1, 29-58.

Matyakubov, Otanazar (1992) 'Lad and rhythmic system of the Shashmaqam', in Elsner, J. & Jähnichen, G. (ed.), Regionale Maqâm-Traditionen in Geschichte und Gegenwart, Teil 2. Berlin: International Council for Traditional Music, 398-406.

____(1993) 'A Traditional Musician in Modern Society: a case study of Turgun Alimatov', Yearbook for Traditional Music 25, 60-66.

Matyakubova, Svetlana (1992) 'The cyclic character of the maqam', in Elsner, J. & Jähnichen, G. (ed.), Regionale Maqâm-Traditionen in Geschichte und Gegenwart, Teil 2. Berlin: International Council for Traditional Music, 407-417.

Movahed, Azin (2003/2004) 'Religious supremacy, Anti-imperialist Nationhood and Persian Musicology After the 1979 Revolution', Asian Music, 35/1, 85-113.

Naroditskaya, Inna (2000) 'Azerbaijanian Female Musicians: Women's Voices Defying and Defining the Culture', Ethnomusicology, 44/2, 234-56.

Nasr, Seyyed Hossein(1997) 'Islam and music: the legal and spiritual dimensions', in Sullivan, L.E. (ed.) Enchanting Powers. Music in the World's Religions. Cambridge, MA: Harvard University Press, 219-235.

Nettl, Bruno (1970) 'Attitudes towards Persian Music in Tehran, 1969', The Musical Quarterly, 56/2, 183-197.

____(1972) 'Persian Popular Music in 1969', Ethnomusicology, 16/2, 218-39.

____(1974) 'Aspects of Form in the Instrumental Performance of Persian Âvaz', Ethnomusicology, 18, 405-14.

____(1978) 'Persian Classical Music in Tehran: the Processes of Change', in Nettl, B. (ed.) Eight Urban Musical Cultures. Urbana/Chicago/London: University of Illinois Press.

____(1980) 'Musical Values and Social Values: Symbols in Iran', Asian Music, 12/1, 129-48.

____(1985) 'Music School'. 'Concerts.' 'A Champion', in Nettl, B. The Western Impact on World Music. Change, Adaptation, and Survival. London: Macmillan, 72-75, 79-83, 110-113.

____(1987) The Radif of Persian Music: Studies of Structure and Cultural Context. Champaign, Illinois: Elephant and Cat.

Neubauer, Eckard and Veronica Doubleday (2005) 'Islamic Religious Music', in Grove Music Online.

Nooshin, Laudan (1998) 'The Song of the Nightingale: Processes of Improvisation in Dastg?h Seg?h', British Journal of Ethnomusicology, 7, 69-116.

____(2005a) 'Subversion and Countersubversion: Power, Control, and Meaning in the New Iranian Pop Music', in Randall, A.J. (ed.) Music, Power, and Politics. NY/London: Routledge, 231-272.

____(2005b) 'Underground, Overground: Rock Music and Youth Discourses in Iran', Iranian Studies, 38/3, 463-94.

O'Connell, John Morgan (2004) 'Sustaining Difference: Theorizing Minority Music in Badakhshan', in Hemetek, Ursula, Lechleitner, Gerda, Naroditskaya, Inna and Czekanowska, Anna (eds.) Manifold Identities: Studies on Music and Minorities. London: Cambridge Scholars Press, 1-19.

Reckord, Thomas (1988) 'The Role of Religious Chant in the Definition of the Iranian Aesthetic', in Caton, M. and Neil Siegel (eds.) Cultural Parameters of Iranian Musical Expression. Redondo Beach, California: Institute of Persian Performing Arts.

Said, Edward W. (1978) Orientalism. Western conceptions of the Orient. Routledge & Kegan.

Sakata, Hiromi Lorraine (1976) ‘The Concept of Musician in Three Persian-Speaking Areas of Afghanistan’, Asian Music, 8/1, 1-28.

____(1983) Music in the Mind: the Concepts of Music and Musician in Afghanistan. Kent, Ohio: The Kent State University Press.

____(1986) 'The Complementary Opposition of Music and Religion in Afghanistan', the World of Music, 28/3, 33-41.

____(1987) 'Hazara Women in Afghanistan: Innovators and Preservers of a Musical Tradition', in Koskoff, Ellen (ed.) Women and Music in Cross-Cultural Perspective. NY/ Westport, CT/ London: Greenwood Press, 85-96.

____(1989) 'Afghan Regional Melody Types and the Notion of Modes', in Elsner, Jürgen (ed.) Maqam – Raga – Zeilenmelodik Konzeptionen and Prinzipien der Musikproduktion. Berlin: International Council for Traditional Music, 170-179.

Shahrani, Enayatullah (1973) ‘The 'Falaks' of the Mountains’, Afghanistan, 26/1, 68-75.

Shannon, Jonathan H., (2006) “Sultans of Spin. Syrian Sacred Music on the World Stage”, in Post, Jennifer C. (ed.) Ethnomusicology. A Contemporary Reader. New York: Routledge, 17-32.

Shay, Anthony (2000) 'The 6/8 beat goes on: Persian popular music from Bazm-e Qujariyye to Beverly Hills garden parties', in Armbrust, Walter (ed.) Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond. Berkeley: University of California Press.

____(2002) 'Dance in Iran', The Garland Encyclopedia of World Music, vol. 6, The Middle East, 875-879.

Shelemay , Kay Kaufman(2001) Soundscapes: Exploring Music in a Changing World. WW. New York and London: W.W. Norton & co..

Slobin, Mark (1970) ‘Persian folksong Texts from Afghan Badakhshan’, Iranian Studies, 3/ 2, 91-103.

____(1970a) 'Music and the Structure of Town Life in Northern Afghanistan', Ethnomusicology, 14, 450-58.

____(1971) 'A Muslim Shaman in Afghan Turkestan', Ethnology, 10, 160-173.

____(1976) Music in the Culture of Northern Afghanistan. Tucson, Arizona: University of Arizona Press.

____(1977) Music of Central Asia and of the Volga-Ural Peoples. Bloomington, Indiana: Indiana University, Asian Studies Research Institute.

Slobin, Mark & Djumaev, Alexander (2001), ‘Tajikistan. Traditional Music’, in the New Grove Dictionary of Music and Musicians, 14-18.

Spinetti, Federico (2005) 'Open Borders: Tradition and Tajik Popular Music: Questions of Aesthetics, Identity and Political Economy', Ethnomusicology Forum, 14/2, 185-211.

____(2006) Music, Politics and Identity in Post-Soviet Tajikistan. School of Oriental and African Studies, London: PhD dissertation.

____(2007) 'Sonic Practices and Concepts in Tajik Popular Music”, in Proceedings of the Conference on Music in the World of Islam. Assilah, 8-13 August, 2007. http://www.mcm.asso.fr/site02/music-w-islam/articles/Spinetti-2007.pdf.

____(In print) 'Music, politics and nation building in post-Soviet Tajikistan', in Nooshin, Laudan (ed.) Music and the Play of Power in the Middle East, North Africa and Central Asia. London: Ashgate.

____(Forthcoming 2008) 'Choreographing the self: staged folklore and popular music rural Tajikistan', The World of Music.

Stokes, Martin (ed) (1994) Ethnicity, Identity and Music: the Musical Construction of Place. Oxford: Berg.

____(2003) “Globalization and the Politics of World Music”, in Clayton, Martin et al. (eds) he cultural study of music: a critical introduction. New York: Routledge, 297-308.

Sultanova, Razia (2001) 'Uzbekistan. Musical instruments', in the New Grove Dictionary of Music and Musicians (online via www.library.ualberta.ca/databases/).

____(2005a) 'Music and Identity in Central Asia: Introduction', Ethnomusicology Forum, 14/2, 131-142.

Talai, Dariush (2002) 'A New Approach to the Theory of Persian Art Music: the Radif and the Modal System', in The Garland Encyclopedia of World Music, Vol. 6, The Middle East. NY/London: Routledge, 865-74.

Turino, Thomas(1999) “Signs of imagination, identity, and experience: a Peircian semiotic theory for music”. Ethnomusicology, 43/2, 221-55. ____(2003) 'Are we global yet? Globalist discourse, cultural formations and the study of Zimbabwean popular music', British Journal of Ethnomusicology, 12/2, 51-79.

Youssefzadeh, Ameneh (2000) 'The Situation of Music in Iran since the Revolution: the Role of Official Organizations', British Journal of Ethnomusicology, 9/2, 35-61.

____(2004) 'Singing in a Theocracy: Female Musicians in Iran', in Korpe, M. (ed.) Shoot the Singer! Music Censorship Today. London/NY: Zed Books, 129-134.

____(2005) 'Iran's Regional Musical Traditions in the Twentieth Century: A Historical Overview', Iranian Studies, 38/3, 417-39.

Zeranska-Kominek, Slawomira (1990) 'The Classification of Repertoire in Turkmen Traditional Music', Asian Music, 21/2, 90-109. ____(2002) 'Music of Turkmenistan', The Garland Encyclopedia of World Music, vol. 6, The Middle East, 965-977.

Zonis, Ella (1973) Classical Persian Music: An Introduction. Cambridge, Mass.: Harvard University Press.

Selected discography

1.Afghanistan. On Marco Polo's Road: The Musicians of Kunduz and Faizabad. Multicultural Media, 1997.

2.Afghanistan: the rubab of Herat. Recordings and liner notes by John Baily. VDE-Gallo CD 699, 2002.

3.Afghanistan Untouched. Recordings and liner notes by Mark Slobin. Traditional Crossroads, 2003.

4.Asie Centrale. Les maîtres du dutôr (Ouzbékistan, Tadjikistan, Turkmenistan, Khorassan). Recordings and liner notes by J. During. AIMP/ VDE-Gallo CD 735, 1993.

5.Asie Centrale. Traditions Classiques. Recordings and liner notes by J. During and T. Levin. Ocora/Radio France C 560035-36, 1993.

6.Bardic Divas: Women's Voices in Central Asia. Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 4).

7.Before the Revolution. A 1909 Recording Expedition in the Caucasus and Central Asia by the Gramophone Company. Compilation and text by Will Prentice. British Library Sound Archive/Topic Records, 2002.

8.Bukhara: Musical Crossroads of Asia. Smithsonian/Folkways Recordings 1991.

9.Davlatmand: Musiques savantes et populaires du Tadjikistan. Recordings by P. Simonin, liner notes by S. Kasmaï. Inedit W 260038, 1992/2001.

10.Falak: The Voice of Destiny. Traditional, popular and symphonic music of Tajikistan. Recordings, text and compilation by Federico Spinetti. British Library Sound Archive/Topic Records, 2006.

11.Invisible Face of the Beloved. Classical Music of the Tajiks and Uzbeks. Liner notes by Theodore Levin and Abduvali Abdurashidov. Smithsonian Folkways Recordings, 2005 Music of Central Asia, vol. 2).

12.Mountain Music of Kyrgyzstan: Tengir-Too. Smithsonian Folkways Recordings, 2005 (Music of Central Asia, vol. 1).

13.Music of the Bukharan Jewish Ensemble Shashmaqam: Central Asia in Forest Hills, New York. Smithsonian/Folkways Recordings 1991.

14.Musique Tadjike du Badakhshan. Recordings and liner notes by J. During. Auvidis-UNESCO D 8212, 1993.

15.Ouzbékistan. L'art du dotar. Hamidov, Khod?verdiev, Razzaqov. Recordings and liner notes by Jean During. Ocora/Radio France, 1997.

16.Ouzbékistan. Les grandes voix du passé (1940-1965). Ocora/Radio France, 1999.

17.Ouzbékistan. Monâjât Yultchieva. Ocora/Radio France, 1994.

18.Ouzbékistan. Musique classique instrumentale. Recordings by J. During and R. Sultanova, liner notes by R. Sultanova. AIMP/VDE-Gallo, 1998.

19.Ouzbékistan. Turgun Alimatov. Ocora/Radio France, 1995.

20.Secret Museum of Mankind. Central Asia. Ethnic Music Classics: 1925-48. Edited by P. Conte. Yazoo/Shanachie, 1996.

21.Tadjikistan. Chants des bardes. Recordings and liner notes by J. During. AIMP/VDE-Gallo CD 973, 1998.

22.Tadjikistan: Maqâm Navâ. Jurabeg Nabiev & Ensemble Dorrdâne. Recordings and liner notes by J. During. Ocora/Radio France, 1997.

23.The art of the Afghan rubab: Homayun Sakhi. Smithsonian Folkways Recordings, 2005 (Music of Central Asia, vol. 3).

24.The Badakhshan Ensemble: Song and Dance from the Pamir Mountains. Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 5).

25.The Rough Guide to the Music of Central Asia. Compilation and liner notes by S. Broughton. World Music Network RGNET 1129CD, 2005.

26.The Silk Road. A Musical Caravan. Liner notes by Jean During and Ted Levin. Smithsonian Folkways Recordings, 2002.

27.Turkmen Epic Singing: Koroglu. Gentilly: Auvidis, 1994.

28.Turkmenistan: La musique des bakhshy. Lausanne: VDE-Gallo, AIMP 22, 1991.

29.Anthology of Persian Music, 1930-1990. Mage, 1991. (CD accompanying: During et al. 1991, The Art of Persian Music)

30.Classical Music of Iran: the Dastgah Systems. Smithsonian Folkways, 1991.

31. Musique iranienne authentique: Santour. Artistes Arabes Associes, 1996.

32.Musique iranienne authentique: Kamantche. Artistes Arabes Associes, 1997.

33.Musique iranienne authentique: Setar. Artistes Arabes Associes, 1999.

34.Hassan Tabar, santour: musique traditionnelle iranienne. Artistes Arabes Associes, 1993.

35.Musique iranienne. Harmonia Mundi, 1977.

36.Iran. Les maîtres de la musique traditionnelle. 3 Vol., Ocora/Radio France, 1991-92.

37.Iran. Persian Classical Music. Elektra, 1991.

38.Sima Bina. Iran: Music of North Khorassan. Buda 92636-2, 1996.

39.Folk songs and dances of Iran. Smithsonian Folkways, 2003.

40.Baloutchistan. Musique d'extase et de guérison. Ocora/Radio France, 1992.

41.Bardes du Khorassan. Ocora/Radio France, 1998.

42.Kurdish Folk Music from Western Iran. Smithsonian Folkways, 2003.

43.Music of Islam. Volume 12: Music of Iran, Karaj. Celestial Harmonies, 1998.

Films

1.Amir: an Afghan refugee musician's life in Peshawar, Pakistan. Directed and edited by John Baily. Royal Anthropological Institute, 1985. VHS (52 min.)

2.Breaking the Silence: Music in Afghanistan. Directed by Simon Broughton. BBC, 2002.

3.Mystic Iran: the Unseen World. Directed by Aryana Farshad. Wellspring, 2002.

4.The art of the Afghan rubab: Homayun Sakhi. Music of Central Asia, vol. 3. Smithsonian Folkways Recordings, 2005.

5.Invisible Face of the Beloved. Classical Music of the Tajiks and Uzbeks. Smithsonian Folkways Recordings, 2005 (Music of Central Asia, vol. 2).

6.Mountain Music of Kyrgyzstan: Tengir-Too. Smithsonian Folkways Recordings, 2005 (Music of Central Asia, vol. 1).

7.Bardic Divas: Women's Voices in Central Asia. Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 4).

8.The Badakhshan Ensemble: Song and Dance from the Pamir Mountains. Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 5).

9.Alim and Fargana Qasimov: Spiritual Music of Azerbaijan. Smithsonian Folkways Recordings, 2007 (Music of Central Asia, vol. 6).

10.Wedding. Directed and edited by Federico Spinetti. InTheMiddleofAsia, 2004.