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Music of the Peruvian Altiplano and the Experience of Urban Migration
Living with the String Quartets
Mahler and the World in 1910
From Out of Philosophy, Music, Dance, and Literature

directing the recording session for the album Creative Orchestra Music 1976 2 Muhal Richard Abrams (ca. 1967) 76 Anthony Braxton with Joseph Jarman in Chicago's Hyde Park (ca. 1968) 113 IX x Illustrations Anthony Braxton in a studio rehearsal at Delmark Records, Chicago (ca. 1967) 119 Cover page of the French magazine Jazz Hot, April 1972 187 Anthony Braxton playing contra alto clarinet in a concert rehearsal during the mid-1970s 195 Anthony Braxton at a New York studio rehearsal for the album Creative Orchestra Music 1976 204 Anthony Braxton performing on alto saxophone


Figures 1 Th e Algiers- Tlemcen nūba complex 15 2 Th e Maghribi- Andalusi genre map 34 3 At Café Malakoff , Algiers, 2014 74 4 Two record covers from the 1960s 101 5 L’Andaloussia of Oujda (Association Andalouse) circa 1925 114 6 Sfi ndja, Benteff ahi, Ahmed Lakehal, and friends in Belcourt, Algiers, circa 1900 118 7 Two pages from Edmond Nathan Yafi l’s Majmū‘ al- aghānī wa- l- alh ān min kalām al- andalus, 1904 146 8 Musicians in rehearsal at Association Gharnata, Tlemcen, 2009 177 9 Eight of the forty discs recorded by Sid Ahmed Serri and released by the


CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima PART ONE Music in Conima 1 Instruments, Aesthetics, and Performance Practice 39 2 The Collective and Competitive Nature of Musical Performance 58 3 Making the Music: Rehearsals, Composition, and Musical Style 72 4 Three Fiestas 94 PART TWO The Local, the National, and the Youth of Conima 5 Qhantati Ururi of Conima 117 6 The Urban Panpipe Movement and the Youth of Conima 139 PART THREE The Music of Conimeflo Residents in Lima 7 Conimenos in Lima and Regional Associations 169 8

47 2 The Final Run-Through As literature creates a virtual past, drama creates a virtual future. The literary mode is the mode of Memory; the dramatic is the mode of Destiny. SUSANNE LANGER, Feeling and Form Jehan Hemont was not the only person to be mortally wounded at the theater. Just over four years later, on 19 June 1384, in the Parisian suburb of Aunay-lès-Bondy, one Perrin Le Roux was killed as a result of a remarkably similar accident that occurred during a rehearsal of the Miracle of Théophile. Another victim of special eff ects gone awry, he


.5. Claude Debussy, Pelléas et Mélisande, act 1, scene 1, rehearsal no. 2, mm. 1– 12 196 4.1. Schumann, Fantasiestücke, “Warum?” op. 12, no. 3, mm. 1– 16 236