In this thesis I discuss the musical repertoires which Palestinians invoke on the occasion of the violent death of victims of the conflict. My fieldwork centres on the years 2001-2002, a period of time in which there was increased conflict and heightened emotion.Drawing on psychological and anthropological theories of emotion I examine three repertoires which are specific to Palestinian death: nowah (women's laments), hotofat (the slogans of funeral demonstrations) and special programmes of music and film which Bethlehem Television produced when local people were killed. I argue that when studying the dynamic of music and emotion it is not enough to consider musical structures alone; rather, one must look at a diversity of factors that influence how music and emotion intersect. By looking at the circumstances surrounding the Palestinian experience of chronic loss and dispossession, I demonstrate how music and musicmaking became a coping mechanism for those who were suffering. In the case of violent death the traditional repertoire of women's laments which articulate grief and despair - is discouraged, and the focus shifts to the sphere of mass funerals and the reclaiming of public space. In this context, the chanting and . shouting of slogans provides a means of catharsis through the articulation of moral outrage. Within this emotional landscape of grief and grievance, Bethlehem Television's special programmes of film and music functioned as a therapeutic means of narrating the Palestinian experience. This thesis contributes to an understanding of the uses of music in emotion management in the struggle to survive the trauma of loss by Palestinians living under occupation and in long-term conflict.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:492270 |
| Date | January 2008 |
| Creators | Sinnamon, J. M. |
| Publisher | Queen's University Belfast |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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