The Concept of Musician in Three Persian-Speaking Areas of Afghanistan
Bibliographic Data
| ID | 3793673 |
|---|---|
| Authors | Lorraine Sakata (corresponding author) |
| Year | 1976 |
| Volume | 8 |
| Issue | 1 |
| Pages | 1 |
| Publication date | 1976-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Asian Music (JOURNAL) |
| Journal identifiers | ISSN: 0044-9202 • E-ISSN: 1553-5630 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/833945 |
| OpenAlex | W2316426706 |
| Language | EN |
| References cited | 1 |
It is not surprising then, to find that the concepts of musician in all three areas are based on the assumption that entertainment music is religiously unpraiseworthy because of its associations with activities specifically prohibited by religion such as the drinking of intoxicating liquors, adultery, and gambling. Therefore, the musicians themselves are suspect and looked down upon by other members of traditional society. Although not all musicians fall into this professional class of entertainers, they are nevertheless affected by these notions, and the bulk of the terminology for various musician types refers to professional musicians. The number of professional musicians in each area differs and accounts for the diverse ways in which all musicians are dealt with in the three areas
Ancient history · Art · Linguistics · Literature · Persian · History · Philosophy · Politics and Conflicts in Afghanistan, Pakistan, and Middle East
| Citation velocity | historical |
|---|---|
| Highly cited | No |