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صوت مصر: أم كلثوم والأغنية العربية والمجتمع المصري فى القرن العشرين
Umm Kulthum, the "voice of Egypt," was the most celebrated musical performer of the century in the Arab world. More than twenty years after her death, her devoted audience, drawn from all strata of Arab society, still numbers in the millions. Thanks to her skillful and pioneering use of mass media, her songs still permeate the international airwaves. In the first English-language biography of Umm Kulthum, Virginia Danielson chronicles the life of a major musical figure and the confluence of artistry, society, and creativity that characterized her remarkable career.
Danielson examines the careful construction of Umm Kulthum's phenomenal popularity and success in a society that discouraged women from public performance. From childhood, her mentors honed her exceptional abilities to accord with Arab and Muslim practice, and as her stature grew, she remained attentive to her audience and the public reception of her work. Ultimately, she created from local precendents and traditions her own unique idiom and developed original song styles from both populist and neo-classical inspirations. These were enthusiastically received, heralded as crowning examples of a new, yet authentically Arab-Egyptian, culture. Danielson shows how Umm Kulthum's music and public personality helped form popular culture and contributed to the broader artistic, societal, and political forces that surrounded her.
This richly descriptive account joins biography with social theory to explore the impact of the individual virtuoso on both music and society at large while telling the compelling story of one of the most famous musicians of all time.
"She is born again every morning in the heart of 120 million beings. In the East a day without Umm Kulthum would have no color."—Omar Sharif
Danielson examines the careful construction of Umm Kulthum's phenomenal popularity and success in a society that discouraged women from public performance. From childhood, her mentors honed her exceptional abilities to accord with Arab and Muslim practice, and as her stature grew, she remained attentive to her audience and the public reception of her work. Ultimately, she created from local precendents and traditions her own unique idiom and developed original song styles from both populist and neo-classical inspirations. These were enthusiastically received, heralded as crowning examples of a new, yet authentically Arab-Egyptian, culture. Danielson shows how Umm Kulthum's music and public personality helped form popular culture and contributed to the broader artistic, societal, and political forces that surrounded her.
This richly descriptive account joins biography with social theory to explore the impact of the individual virtuoso on both music and society at large while telling the compelling story of one of the most famous musicians of all time.
"She is born again every morning in the heart of 120 million beings. In the East a day without Umm Kulthum would have no color."—Omar Sharif
319 pages, Paperback
First published January 1, 1997
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November 12, 2023
The voice of the academic
Back in the summer of 1963, I was staying a few days in a cheap hotel in Jerusalem. It was a Thursday. I noticed that the neighborhood, usually noisy, had gone quiet. Suddenly a dozen radios announced “Sawt al Arab min al Qahira” (Voice of the Arabs from Cairo) and all blasted the same unbelievable song over the silent quarter. I was entranced by the power and soul of that music, though I didn’t understand a word. I had just met Umm Kulthum, one of the queens of 20th century music, but unknown in America.
Twelve years later, in early 1975, this amazing woman passed away. Somewhere around four million people lined the streets to say farewell. She had represented them in song, their loves, their lives, and even their politics. Who would not want to know more about such a figure? Certainly I did.
Unfortunately, in reading this book, I ran into a huge amount of academic shuffling about in presenting every detail, in analyzing the styles, the modes, the quarrels, the other composers and song writers, the poets, and impresarios. Dozens of unfamiliar Arabic words flying around, hundreds of song titles, sometimes translated, sometimes not. Ay Diós! I was buried in names and technical details, in sociological jargon referring to the "order without frameworks", in footnotes and the stuff of many a PhD thesis. I got some idea about Umm Kulthum’s life, of course, but it was a rather painful process. If you are a scholar of Egypt or of Arab music, you have to read this book, but if not, you will have to be very persistent to get through to the end. I have to say that I’m judging this book in terms of what an interested reader may find. You will find an opaque work of the highest level of scholarship.
Umm Kulthum, from a humble village background, rose to the heights of national and even international prominence through her unusual ability to sing contralto songs with great emotion, interpreting the poetry and music created by others. A quick study, she learned manners and city culture, eventually frequenting the highest social circles and always, always remaining in control of her concerts, her records, her radio broadcasts, and private appearances. She rehearsed till everyone around her was collapsing with fatigue, she was imperious at times, but till the end she identified with village Egypt, with the common people. Egyptians thought of her as “authentic” at a time when foreign musical styles and instruments were penetrating traditional culture. “The value of indigenous resources and the importance of bringing them to bear on the contemporary political and economic situation constituted a rising tide of feeling in post-World War II Egypt. Umm Kulthum’s…[music]gave musical expression to this complex of nationalistic and religious sentiments of long standing.” (p.123) She maintained close ties to Nasser, the charismatic Egyptian leader who also had come up from a lowly beginning. She never broke from the Egyptian revolution of the 1950s. Though suffering from several serious medical problems over the years, she did not lose interest in performing or in her intimate involvement in the struggles of the commercial music world. Her performances, to conclude, presented a strong identity with basic Egyptian, Arab, and Muslim feelings and values. “Umm Kulthum and her listeners collectively accomplished the repeated ‘enactment of cultural values’ [as written about by anthropologist Clifford Geertz). The world represented by her performances, constructed of Arab and Egyptian values, is where many listeners have wanted to live” (p.200) even so many years after her death. And, if you have a taste for old style Arabic music, she is the absolute number one. You can see many clips of her music on YouTube. If you love Arabic music, you probably have already seen them. If you are curious, don't miss these fabulous songs.
Back in the summer of 1963, I was staying a few days in a cheap hotel in Jerusalem. It was a Thursday. I noticed that the neighborhood, usually noisy, had gone quiet. Suddenly a dozen radios announced “Sawt al Arab min al Qahira” (Voice of the Arabs from Cairo) and all blasted the same unbelievable song over the silent quarter. I was entranced by the power and soul of that music, though I didn’t understand a word. I had just met Umm Kulthum, one of the queens of 20th century music, but unknown in America.
Twelve years later, in early 1975, this amazing woman passed away. Somewhere around four million people lined the streets to say farewell. She had represented them in song, their loves, their lives, and even their politics. Who would not want to know more about such a figure? Certainly I did.
Unfortunately, in reading this book, I ran into a huge amount of academic shuffling about in presenting every detail, in analyzing the styles, the modes, the quarrels, the other composers and song writers, the poets, and impresarios. Dozens of unfamiliar Arabic words flying around, hundreds of song titles, sometimes translated, sometimes not. Ay Diós! I was buried in names and technical details, in sociological jargon referring to the "order without frameworks", in footnotes and the stuff of many a PhD thesis. I got some idea about Umm Kulthum’s life, of course, but it was a rather painful process. If you are a scholar of Egypt or of Arab music, you have to read this book, but if not, you will have to be very persistent to get through to the end. I have to say that I’m judging this book in terms of what an interested reader may find. You will find an opaque work of the highest level of scholarship.
Umm Kulthum, from a humble village background, rose to the heights of national and even international prominence through her unusual ability to sing contralto songs with great emotion, interpreting the poetry and music created by others. A quick study, she learned manners and city culture, eventually frequenting the highest social circles and always, always remaining in control of her concerts, her records, her radio broadcasts, and private appearances. She rehearsed till everyone around her was collapsing with fatigue, she was imperious at times, but till the end she identified with village Egypt, with the common people. Egyptians thought of her as “authentic” at a time when foreign musical styles and instruments were penetrating traditional culture. “The value of indigenous resources and the importance of bringing them to bear on the contemporary political and economic situation constituted a rising tide of feeling in post-World War II Egypt. Umm Kulthum’s…[music]gave musical expression to this complex of nationalistic and religious sentiments of long standing.” (p.123) She maintained close ties to Nasser, the charismatic Egyptian leader who also had come up from a lowly beginning. She never broke from the Egyptian revolution of the 1950s. Though suffering from several serious medical problems over the years, she did not lose interest in performing or in her intimate involvement in the struggles of the commercial music world. Her performances, to conclude, presented a strong identity with basic Egyptian, Arab, and Muslim feelings and values. “Umm Kulthum and her listeners collectively accomplished the repeated ‘enactment of cultural values’ [as written about by anthropologist Clifford Geertz). The world represented by her performances, constructed of Arab and Egyptian values, is where many listeners have wanted to live” (p.200) even so many years after her death. And, if you have a taste for old style Arabic music, she is the absolute number one. You can see many clips of her music on YouTube. If you love Arabic music, you probably have already seen them. If you are curious, don't miss these fabulous songs.
December 23, 2016
ما أعجبني في هذا الكتاب يمكن تلخيصه في النقطتين التاليتين:
1. دقة الباحثة والجهد المبذول في الكتابة ومحاولة تأكيد وجهة نظرها من خلال الإستشهاد بما هو متاح مسبقا أو ما هو من تقديمها "كالنوت الموسيقية التي تشرح أداء أم كلثوم الغنائي"، عنصر الدقة يمكن التأكيد عليه من خلال لمحة بسيطة وهي قيامها بالبحث في أسعار العملات طوال فترة حياة أم كلثوم الفنية لتحويل المبالغ المالية إلى مقابلها بالدولار لإعطاء صورة واقعية عن الجانب المالي في حيانها. صادف أن قرأت هذا الكتاب ضمن عشرة كتب عن الموسيقى المصرية في أوائل القرن، تسعة منهم بأقلام كتاب مصريين للأسف تميزت كتابتهم جميعا بالتفاهة إلا قليل منهم ومجرد جمع وسرد للمعلومات دون تقديم إية فكرة مبتكرة أو وجهة نظر محترمة.
2. فكرة أن يقوم شخص ما بالبحث وراء سر جمال فني في ثقافة مغايرة وبعيدة عن ثقافته أمر مشوق جداً أعترف للأسف بعدم قدرتي على القيام به، فمحاولاتي الأولى للتعرف على فن الكابوكي الياباني مثلاً توقفت بمجرد فشلي في تذوق هذا اللون من الفنون و لم يكن لدي صبر و مثابرة دانيلسون لمحاولة إستكشاف أسرار إعجاب اليابانيين - الذين أحترم ثقافتهم - به كما فعلت هي مع فن أم كلثوم.
1. دقة الباحثة والجهد المبذول في الكتابة ومحاولة تأكيد وجهة نظرها من خلال الإستشهاد بما هو متاح مسبقا أو ما هو من تقديمها "كالنوت الموسيقية التي تشرح أداء أم كلثوم الغنائي"، عنصر الدقة يمكن التأكيد عليه من خلال لمحة بسيطة وهي قيامها بالبحث في أسعار العملات طوال فترة حياة أم كلثوم الفنية لتحويل المبالغ المالية إلى مقابلها بالدولار لإعطاء صورة واقعية عن الجانب المالي في حيانها. صادف أن قرأت هذا الكتاب ضمن عشرة كتب عن الموسيقى المصرية في أوائل القرن، تسعة منهم بأقلام كتاب مصريين للأسف تميزت كتابتهم جميعا بالتفاهة إلا قليل منهم ومجرد جمع وسرد للمعلومات دون تقديم إية فكرة مبتكرة أو وجهة نظر محترمة.
2. فكرة أن يقوم شخص ما بالبحث وراء سر جمال فني في ثقافة مغايرة وبعيدة عن ثقافته أمر مشوق جداً أعترف للأسف بعدم قدرتي على القيام به، فمحاولاتي الأولى للتعرف على فن الكابوكي الياباني مثلاً توقفت بمجرد فشلي في تذوق هذا اللون من الفنون و لم يكن لدي صبر و مثابرة دانيلسون لمحاولة إستكشاف أسرار إعجاب اليابانيين - الذين أحترم ثقافتهم - به كما فعلت هي مع فن أم كلثوم.
February 4, 2015
An academic biography of perhaps the best known singer in the Arab world, the Egyptian Umm Kulthum -- probably 1904-1975 according to the book, although the LC catalog card gives the birthdate as 1898. The book treats her career in a serious way, with very little about her personal life, and discusses the social and political as well as artistic context of her music.
I was very interested in reading about her because she is mentioned so often in Mahfouz' writings. The last book I read (Music in Egypt) had a chapter on her, and one of her songs on the CD, which was very good. I've also listened to some of her songs on you-tube. She is definitely a very good singer; I can't comment directly on the meaning of the songs as I don't know Arabic.
The book begins with a mildly post-modernist methodological introduction, as usual in academic books of the late nineties, and -- one of my pet gripes -- it has end-notes, which I think should be avoided when not restricted to just bibliographic references. Otherwise, I thought it was a good book. It presented her music in the context of modernization without Westernization as a tendency in Egyptian culture and politics, contrasting her with other musicians who were more Western in spirit.
I was very interested in reading about her because she is mentioned so often in Mahfouz' writings. The last book I read (Music in Egypt) had a chapter on her, and one of her songs on the CD, which was very good. I've also listened to some of her songs on you-tube. She is definitely a very good singer; I can't comment directly on the meaning of the songs as I don't know Arabic.
The book begins with a mildly post-modernist methodological introduction, as usual in academic books of the late nineties, and -- one of my pet gripes -- it has end-notes, which I think should be avoided when not restricted to just bibliographic references. Otherwise, I thought it was a good book. It presented her music in the context of modernization without Westernization as a tendency in Egyptian culture and politics, contrasting her with other musicians who were more Western in spirit.
April 3, 2012
The Voice of Egypt": Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century by Virginia Danielson. I know for fact that this Egyptian singer was and still the greatest singer on earth even if one can’t understand the language her music is fantastic. The book gives s wonderful introduction about Umm Kulthum’s life as a person, daughter, a great singer and a wife. Umm Kulthum considered the Star of the East and the lady of Arabic Song. More than three decades after her death, she is widely regarded as the greatest female singer in Arab music history. Umm Kulthum was not only famous Egyptian singer and great asset to Egypt; but also she is very famous in all other Arab nations. She had lots of fans all over the world. In this book one will learn more about Um Kulthum and how strong she was and powerful. Reading the book will also help one to understand more about her music and songs, appreciate more here voice and how she chooses here songs lines. This book is very good reference source for those who wish to understand Middle Eastern Music. I would highly recommend it to all readers
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August 12, 2021Danielson remains the standard on Umm Kulthum; almost every other author relies heavily on this work, and she also wrote the Britannica entry. It is not difficult to see why. The author consistently succeeds in explaining the success of the singer naturally in terms of the fortunate combination of personal commitment, chance circumstances and the odd bit of opportunism. Since emerging from the countryside in 1919 and sliding apparently effortlessly into the Cairo high society, Umm Kulthum carefully managed her public persona and exercised tight control over contract terms, concert settings, interviews and even "critical" reviews. She grew steadily in popularity over 6 decades, through at least 4 major changes in style, to become the icon of combined Egyptian nationalism and panarabism she still is today, 46 years after her death.
For the uninitiated there are helpful explanations of the different traditions of Arab poetry and music as well as a glossary of Arabic terms. Extensive notes and references testify to the quality of the research.
For the uninitiated there are helpful explanations of the different traditions of Arab poetry and music as well as a glossary of Arabic terms. Extensive notes and references testify to the quality of the research.
November 24, 2025
letzte zwischenprüfung wir kommen
December 7, 2018
A good reference work on one of the most famous singers of the 20th century. For some years now I've been an avid listener of Um Kulthoum and her contemporaries, so I really enjoyed the biographical information and description of her work and which musicians she collaborated or at times clashed with.
To be honest, my eyes glazed over in parts and I had to skim when the author started in on sociological analysis. This is not any particular qualm with the author, just my qualm with sociology and how it uses ridiculously complex language to describe and analyze human behaviors that are completely obvious and not worth such in-depth analysis if you're human and you have a clue. Several paragraphs analyzing in ridiculously complex language how artists' performances are not created in a vacuum and that audience plays a role in making a performance, elicited a "uh, yeah, obviously" from me.
The other aspect of this book that was difficult to get through was the liberal use of a wide variety of Arabic poetical/musical terms, without much explanation to their meanings and distinctions. Fortunately I am already familiar with the term maqam, and fortunately I have an understanding of basic Arabic (if you don't, you'll understand what's going on even less). But I didn't feel that it was clearly explained what the difference was between lahn, qasa'id, ughniya (to my basic Arabic understanding, this word just means "song"), taqtuqa, wasla, zajal, etc. They have a glossary, but I felt it would be even better if there was a brief section in the book proper, situating these in the history of Arabic poetry first, and even better still if the book had come with a cd with excerpts one could reference (the sheet music in the book isn't really helpful to a non-musician).
I'm a motivated nerd, so I'll go and find the books and recordings I need to make sense of this. But the book certainly wasn't comprehensive on this topic and could be lost on people not familiar with Arab poetry or music.
The most interesting takeaway from this book, aside from the biographical and work information on these artists, was the observation that what is considered "heritage" or "classical" now, was once an innovation. Therefore, it would be more appropriate to think of these "Golden Era" songs which are so loved now as "neoclassical". They drew on Arab tradition, poetical tradition, and religious tradition, but they were new. It is the love for them that made them "classic". It is an interesting observation on any art or genre--what is once radical and new or collated from different sources can become "classic", "heritage" or a beloved tradition.
To be honest, my eyes glazed over in parts and I had to skim when the author started in on sociological analysis. This is not any particular qualm with the author, just my qualm with sociology and how it uses ridiculously complex language to describe and analyze human behaviors that are completely obvious and not worth such in-depth analysis if you're human and you have a clue. Several paragraphs analyzing in ridiculously complex language how artists' performances are not created in a vacuum and that audience plays a role in making a performance, elicited a "uh, yeah, obviously" from me.
The other aspect of this book that was difficult to get through was the liberal use of a wide variety of Arabic poetical/musical terms, without much explanation to their meanings and distinctions. Fortunately I am already familiar with the term maqam, and fortunately I have an understanding of basic Arabic (if you don't, you'll understand what's going on even less). But I didn't feel that it was clearly explained what the difference was between lahn, qasa'id, ughniya (to my basic Arabic understanding, this word just means "song"), taqtuqa, wasla, zajal, etc. They have a glossary, but I felt it would be even better if there was a brief section in the book proper, situating these in the history of Arabic poetry first, and even better still if the book had come with a cd with excerpts one could reference (the sheet music in the book isn't really helpful to a non-musician).
I'm a motivated nerd, so I'll go and find the books and recordings I need to make sense of this. But the book certainly wasn't comprehensive on this topic and could be lost on people not familiar with Arab poetry or music.
The most interesting takeaway from this book, aside from the biographical and work information on these artists, was the observation that what is considered "heritage" or "classical" now, was once an innovation. Therefore, it would be more appropriate to think of these "Golden Era" songs which are so loved now as "neoclassical". They drew on Arab tradition, poetical tradition, and religious tradition, but they were new. It is the love for them that made them "classic". It is an interesting observation on any art or genre--what is once radical and new or collated from different sources can become "classic", "heritage" or a beloved tradition.
August 11, 2012
A scholarly look at an incredible woman, as savvy as she was blessed with an incredible voice.
June 4, 2015
Occasionally a bit too academic in analysing Umm's music for the general reader, but her life story is so fascinating I really recommend it
December 11, 2024
Very strong read on the life of Umm Kulthum. Provides a very fascinating vector of analysis for her social and political impact, while also exploring her musical practices and their contribution to her public perception. I love Umm Kulthum's music, but I come from a notably different background and lived experience from the twentieth-century populace of the Middle East. This work explores the marriage between politics, society, virtuosic art, and all of that through the lens of 20th century Egypt.
December 11, 2024
I read this with a book club of bellydancers. It is an interesting perspective on an Egyptian singer (her biography), as well as, a study of her influence on popular Egyptian music of her time. It also includes information on cultural influences.
May 31, 2017
كتاب مهم أساءت له ترجمة عربية تخلو حتى من هوامش المؤلفة
February 15, 2020
ما أجمل العودة لحقبة أم كلثوم والغوص في حياتها كل حين لآخر
September 11, 2022
the documentary narrated by Omar Sharif was better.
February 19, 2017
كتاب جميل لا تستطيع الصبر في معرفة مراحل عبقرية وجمال صوت
أم كلثوم
لم أعيش في زمنها لكن استمتعت بسماع أغانيها بطريقة مختلفة
بعد قراءة هذا الكتاب
سيرة تستحق التأمل
كسرت حواجز كثيره في المجتمع المصري حينها
وواصلت نثر الابداع والجمال
رحمة الله عليها
أم كلثوم
لم أعيش في زمنها لكن استمتعت بسماع أغانيها بطريقة مختلفة
بعد قراءة هذا الكتاب
سيرة تستحق التأمل
كسرت حواجز كثيره في المجتمع المصري حينها
وواصلت نثر الابداع والجمال
رحمة الله عليها
May 2, 2017
İt is Very Interesting book about Turkish history and Egypt history. And the music of Middle East
Displaying 1 - 16 of 16 reviews