Although free improvised music (FIM) originated in Europe and the United States in the 1960s, it has come to possess meanings and roles unique to its individual contexts of production in todays transnational scene. By focusing on the Lebanese free improvised music scene which emerged in Beirut in 2000, my study aims to address the gap in scholarship on Lebanese expressive culture, particularly music, as a tool to negotiate identity. My thesis addresses the way FIM in Lebanon allows four musicians of the war generation (Mazen Kerbaj, Sharif Sehnaoui, Bechir Saade, and Raed Yassin) to express their individual identities as well as their complex relationship with conflict. I propose that, in a society still coming to terms with the atrocities of civil war and constant political instability, the practice of FIM may have a role in reflecting conflict, facilitating inter-cultural dialogue, as well as breaking aesthetic, socio-economic, and sectarian barriers.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:AEU.10048/1003 |
| Date | 06 1900 |
| Creators | El Kadi, Rana |
| Contributors | Frishkopf, Michael (Music), Spinetti, Federico (Music), Qureshi, Regula (Music), Mahdavi, Mojtaba (Political Science) |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | 2130018 bytes, application/pdf |
Page generated in 0.0014 seconds