Representations of the Orient in Western Music: Violence and Sensuality

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Contents: Preface
Part I Introduction: Between violence and sensuality: Orientalism in musicology. Part II Prophets and Concubines: Models of Violence and Sensuality: The character of Muhammad: a model of violence and sensuality in the European image of the Orient
Slaves, sultans and concubines: the components of illusion. Part III The 18th and 19th Centuries: the Contextualization of Knowledge: Music as noise: barbarity, deficiency, and intrusion in Western accounts of Turkish music
Osmin's rage meets Selim's benevolence: the Oriental other in Mozart's Die EntfA1/4hrung aus dem Serail
200 years of Orientalism: construction of the Orient in Wieland's, Wranitzky's, Weber's, and Burgess' Oberon
Whirling fanatics: Orientalism, politics and religious rivalry in Western operatic representations of the Orient. Part IV The Arabian Nights in Music and Film: Under the spell of magic: the Oriental tale in Rimsky-Korsakov's Scheherezade
Reel bad Arabs, really bad lyrics: villainous Arabs in Disney's Aladdin
Select bibliography
Index.

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This book focuses on the cultural, political and religious representations of the Orient in Western music. Dr Nasser Al-Taee traces several threads in a vast repertoire of musical representations, concentrating primarily on the images of violence and sensuality. Al-Taee argues that these prevailing traits are not only the residual manifestation of the Ottoman threat to Western Europe, but also the continuation of a long and complex history of fear and fascination towards the Orient and its Islamic religion. In addition to analyses of musical works, Al-Taee draws on travel accounts, paintings, biographies, and political events to engage with important issues such as gender, race, and religious differences that may have contributed to the variously complex images of the Orient in Western music. The study extends the range of Orientalism to cover eighteenth-century Austria, nineteenth-century Russia, and twentieth-century America. The book challenges those scholars who do not see Orientalism as problematic and tend to ignore the role of musical representations in shaping the image of the Other within a wider interdisciplinary study of knowledge and power.

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