be considered a normal life in much of the world, advances the compelling idea that regular music study, fostering human creativity, and performances in normal contexts such as recitals would be, for Palestinians, a form of resistance. Thorsén’s numerous quotations from Palestinian musicians make for compelling reading. The final essay, by Yara El-Ghadban and Kiven Strohm, argues against the understanding of Palestinian music simply as resistance; they ask for a broader view that includes the conflicted opportunities brought to artists in Palestine via globalisation with its “interventionism and humanitarianism” (p. 196) that present “ideologies within which artists and musicians are pressured to insert their practices” (p. 196). Overall, this book is a highly worthwhile read. With its variety of formats, it is appropriate for public libraries as well as academic ones. One hopes it is another step to disrupt the editors’ understandable awareness of our unfamiliarity and ideologically inspired negligence of Palestinian music and society.

中文翻译：

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凡尔赛音乐的魅力和传承：路易十四和艾克斯学院（John Hajdu Heyer）

在世界许多地方被认为是正常的生活，提出了一个令人信服的想法，即对巴勒斯坦人来说，定期音乐学习，培养人类创造力以及在正常情况下的演奏（如独奏会）将是一种抵抗。索尔森（Thorsén）从巴勒斯坦音乐家那里获得的大量名言引人入胜。亚拉·加德班（Yara El-Ghadban）和基文·斯特罗姆（Kiven Strohm）的最后一篇文章反对将对巴勒斯坦音乐的理解仅仅看作是反抗。他们要求更广泛的观点，包括全球化给巴勒斯坦艺术家带来的机会冲突及其“干预主义和人道主义主义”（第196页），其中提出了“意识形态，艺术家和音乐家被迫在其中插入自己的作法”（第196页） ）。总体而言，这本书非常值得一读。格式多样，它既适用于公共图书馆，也适用于学术图书馆。希望这是打破编辑对我们对巴勒斯坦音乐和社会的不熟悉和意识形态上的疏忽的可理解的认识的又一步。