Rachel Harris is Reader in the Music of China and Central Asia at SOAS, University of London, UK. Her research interests include global musical flows, identity politics, gender, and ritual practice. She is the author of two books on musical life in China’s Xinjiang Uyghur Autonomous Region, and co-editor of three books. She currently leads an AHRC Research Network and the Leverhulme Research Project ‘Sounding Islam in China’. She is actively engaged with outreach projects relating to Central Asian and Chinese music, including recordings, musical performance, and consultancy.Martin Stokes is King Edward Professor of Music at King's College, London, UK. He has taught ethnomusicology at Queen's University Belfast, the University of Chicago, and Oxford. He is the author of The Arabesk Debate: Music and Musicians in Modern Turkey (1992), and The Republic of Love: Cultural Intimacy and Turkish Popular Music (2010). His edited volumes include Ethnicity, Identity and Music (1994) and (with Karin Van Neiuwkerk and Mark Levine) Islam and Popular Culture (2015).

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• Introduction - Tuning the Past: The Work of Owen Wright Martin StokesPart I: Ottoman Legacies1 New Light on Cantemir Eckhard Neubauer2 Towards a New Theory of Historical Change in the Ottoman Instrumental RepertoireJacob Olley3 Not Just Any Usul: Semai In Pre-Nineteenth-Century Performance PracticeMehmet Uğur Ekinci4 Itri’s ‘Nühüft Sakil’ in the Context of Sakil Peşrevs in the Seventeenth CenturyWalter Feldman5 Giambattista Toderini and the ‘Musica Turchesca’Giovanni De Zorzi6 At the House of Kemal: Private musical gatherings of Istanbul from the late Ottoman Empire to the Turkish Republic Panagiotis C. Poulos7 Kâr-ı Nev: Elongation and Elaboration in Recordings of a Turkish Classic John O’Connell8 Measuring intervals between European and ‘Eastern’ musics in the 1920s: The curious case of the panharmonion or ‘Greek organ’Eleni KallimopoulouPart II: Historical and theoretical themes in the music of the Islamic world9 "Words Without Songs": The social history of Hindustani song collections in India’s Muslim courts c.1770–1830Katherine Butler Schofield10 The music of the Timurids and its legacy in AfghanistanJohn Baily11 Theory and practice in contemporary Central Asian maqām traditions: the Uyghur On Ikki Muqam and the Kashmiri Sūfyāna MusīqīRachel Harris12 The Terminology of Vocal Performance in Iranian KhorasanStephen Blum13 Whispering to God: Monājāt in KhorasanAmeneh Youssefzadeh14 Between Formal Structure and Performance Practice: On the Baghdadi Secular CyclesScheherezade Hassan15 Al-Farabi's Qanun: A Re-Exposition of Ptolemy's Kanon as a Didactic Instrument for the Tone System George SawaPostlude - Conversation with Owen Wright Rachel HarrisOwen Wright: Full BibliographyGlossary

Rachel Harris is Reader in the Music of China and Central Asia at SOAS, University of London, UK. Her research interests include global musical flows, identity politics, gender, and ritual practice. She is the author of two books on musical life in China’s Xinjiang Uyghur Autonomous Region, and co-editor of three books. She currently leads an AHRC Research Network and the Leverhulme Research Project ‘Sounding Islam in China’. She is actively engaged with outreach projects relating to Central Asian and Chinese music, including recordings, musical performance, and consultancy.Martin Stokes is King Edward Professor of Music at King's College, London, UK. He has taught ethnomusicology at Queen's University Belfast, the University of Chicago, and Oxford. He is the author of The Arabesk Debate: Music and Musicians in Modern Turkey (1992), and The Republic of Love: Cultural Intimacy and Turkish Popular Music (2010). His edited volumes include Ethnicity, Identity and Music (1994) and (with Karin Van Neiuwkerk and Mark Levine) Islam and Popular Culture (2015).

Select Guide Rating

• Introduction - Tuning the Past: The Work of Owen Wright Martin StokesPart I: Ottoman Legacies1 New Light on Cantemir Eckhard Neubauer2 Towards a New Theory of Historical Change in the Ottoman Instrumental RepertoireJacob Olley3 Not Just Any Usul: Semai In Pre-Nineteenth-Century Performance PracticeMehmet Uğur Ekinci4 Itri’s ‘Nühüft Sakil’ in the Context of Sakil Peşrevs in the Seventeenth CenturyWalter Feldman5 Giambattista Toderini and the ‘Musica Turchesca’Giovanni De Zorzi6 At the House of Kemal: Private musical gatherings of Istanbul from the late Ottoman Empire to the Turkish Republic Panagiotis C. Poulos7 Kâr-ı Nev: Elongation and Elaboration in Recordings of a Turkish Classic John O’Connell8 Measuring intervals between European and ‘Eastern’ musics in the 1920s: The curious case of the panharmonion or ‘Greek organ’Eleni KallimopoulouPart II: Historical and theoretical themes in the music of the Islamic world9 "Words Without Songs": The social history of Hindustani song collections in India’s Muslim courts c.1770–1830Katherine Butler Schofield10 The music of the Timurids and its legacy in AfghanistanJohn Baily11 Theory and practice in contemporary Central Asian maqām traditions: the Uyghur On Ikki Muqam and the Kashmiri Sūfyāna MusīqīRachel Harris12 The Terminology of Vocal Performance in Iranian KhorasanStephen Blum13 Whispering to God: Monājāt in KhorasanAmeneh Youssefzadeh14 Between Formal Structure and Performance Practice: On the Baghdadi Secular CyclesScheherezade Hassan15 Al-Farabi's Qanun: A Re-Exposition of Ptolemy's Kanon as a Didactic Instrument for the Tone System George SawaPostlude - Conversation with Owen Wright Rachel HarrisOwen Wright: Full BibliographyGlossary

Rachel Harris is Reader in the Music of China and Central Asia at SOAS, University of London, UK. Her research interests include global musical flows, identity politics, gender, and ritual practice. She is the author of two books on musical life in China’s Xinjiang Uyghur Autonomous Region, and co-editor of three books. She currently leads an AHRC Research Network and the Leverhulme Research Project ‘Sounding Islam in China’. She is actively engaged with outreach projects relating to Central Asian and Chinese music, including recordings, musical performance, and consultancy.Martin Stokes is King Edward Professor of Music at King's College, London, UK. He has taught ethnomusicology at Queen's University Belfast, the University of Chicago, and Oxford. He is the author of The Arabesk Debate: Music and Musicians in Modern Turkey (1992), and The Republic of Love: Cultural Intimacy and Turkish Popular Music (2010). His edited volumes include Ethnicity, Identity and Music (1994) and (with Karin Van Neiuwkerk and Mark Levine) Islam and Popular Culture (2015).

Select Guide Rating

• Introduction - Tuning the Past: The Work of Owen Wright Martin StokesPart I: Ottoman Legacies1 New Light on Cantemir Eckhard Neubauer2 Towards a New Theory of Historical Change in the Ottoman Instrumental RepertoireJacob Olley3 Not Just Any Usul: Semai In Pre-Nineteenth-Century Performance PracticeMehmet Uğur Ekinci4 Itri’s ‘Nühüft Sakil’ in the Context of Sakil Peşrevs in the Seventeenth CenturyWalter Feldman5 Giambattista Toderini and the ‘Musica Turchesca’Giovanni De Zorzi6 At the House of Kemal: Private musical gatherings of Istanbul from the late Ottoman Empire to the Turkish Republic Panagiotis C. Poulos7 Kâr-ı Nev: Elongation and Elaboration in Recordings of a Turkish Classic John O’Connell8 Measuring intervals between European and ‘Eastern’ musics in the 1920s: The curious case of the panharmonion or ‘Greek organ’Eleni KallimopoulouPart II: Historical and theoretical themes in the music of the Islamic world9 "Words Without Songs": The social history of Hindustani song collections in India’s Muslim courts c.1770–1830Katherine Butler Schofield10 The music of the Timurids and its legacy in AfghanistanJohn Baily11 Theory and practice in contemporary Central Asian maqām traditions: the Uyghur On Ikki Muqam and the Kashmiri Sūfyāna MusīqīRachel Harris12 The Terminology of Vocal Performance in Iranian KhorasanStephen Blum13 Whispering to God: Monājāt in KhorasanAmeneh Youssefzadeh14 Between Formal Structure and Performance Practice: On the Baghdadi Secular CyclesScheherezade Hassan15 Al-Farabi's Qanun: A Re-Exposition of Ptolemy's Kanon as a Didactic Instrument for the Tone System George SawaPostlude - Conversation with Owen Wright Rachel HarrisOwen Wright: Full BibliographyGlossary