The spiritual tradition of the Turkish population in RN Macedonia is rich and still nurtures some segments of Sufism from the Ottoman period such as the Bektashi dervish order. In the period before the arrival of the Ottomans (around the 13th century), numerous Sufis were active in these territories, which in some way represented a transition point for the conquest and settlement of the Turks. Numerous Bektashi tekkes were built during the Ottoman period, several of which are still active today. Depending on the ethnic composition of the followers, the linguistic dominance of these Sufi structures also changes. The only Bektashi tekke whose members are Turks is the tekke "Dikmen Baba" located in the village Kanatlarci near Prilep. This tekke is one of the few in the Bektashi orders that despite several divisions regarding spiritual leadership has operated without delay since its founding in the 16th century until today. Such branching did not affect the essence of the spiritual ideology as well as the form of the rituals of this dervish order which is almost the same as the one that was practiced from the very beginning. The main focus of this paper will be the musical tradition in the rites because the following reasons: 1. music, as the main activity of the Bektashi ritual, is the essential vehicle for spreading and reinforcing beliefs and wisdom for everyday community life, 2. its importance as a fundamental tool in the expression of mystical theosophy, and 3. variations in the repertoire as a result of the integration of spiritual compositions of the local population. For this purpose, field research, interviews, and analysis of audio materials from the spiritual rites of the Bektashi tekke Dikmen Baba in the village of Kanatlarci have been carried out.
{"title":"MUSIC IN BEKTASHI ORDER IN RN MACEDONIA: ASPECTS OF PERFORMANCE","authors":"Aida Islam, Stefanija LESHKOVA ZELENKOVSKA, Mehtap Demi̇r","doi":"10.33906/musicologist.1241547","DOIUrl":"https://doi.org/10.33906/musicologist.1241547","url":null,"abstract":"The spiritual tradition of the Turkish population in RN Macedonia is rich and still nurtures some segments of Sufism from the Ottoman period such as the Bektashi dervish order. In the period before the arrival of the Ottomans (around the 13th century), numerous Sufis were active in these territories, which in some way represented a transition point for the conquest and settlement of the Turks. Numerous Bektashi tekkes were built during the Ottoman period, several of which are still active today. Depending on the ethnic composition of the followers, the linguistic dominance of these Sufi structures also changes. The only Bektashi tekke whose members are Turks is the tekke \"Dikmen Baba\" located in the village Kanatlarci near Prilep. This tekke is one of the few in the Bektashi orders that despite several divisions regarding spiritual leadership has operated without delay since its founding in the 16th century until today. Such branching did not affect the essence of the spiritual ideology as well as the form of the rituals of this dervish order which is almost the same as the one that was practiced from the very beginning. The main focus of this paper will be the musical tradition in the rites because the following reasons: 1. music, as the main activity of the Bektashi ritual, is the essential vehicle for spreading and reinforcing beliefs and wisdom for everyday community life, 2. its importance as a fundamental tool in the expression of mystical theosophy, and 3. variations in the repertoire as a result of the integration of spiritual compositions of the local population. For this purpose, field research, interviews, and analysis of audio materials from the spiritual rites of the Bektashi tekke Dikmen Baba in the village of Kanatlarci have been carried out.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"1520 ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139176889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-15DOI: 10.33906/musicologist.1183464
Ming-hui Ma
In contrast to the practice of one-way collecting and analysing of data from the field as found so far in the beiguan literature, this article presents a role-changing process used in the recording of beiguan opera with the Qinghexuan ensemble (慶和軒) in Taiwan, formed in order to generate bilateral benefits through a collaborative applied project. I discuss both the practical recording skills used in the field and the mixing down skills employed in the studio to demonstrate how the interactive process designed reflects the needs in the community and how the collaboration aspect interfaces with each step of the making and checking of the recording. Firstly, I examine the recording process in the field, including microphone placement and recording strategy. Secondly, I discuss how the utilisation of plug-ins (equaliser, compressor, panning, balance) in the mixing of tracks is similar to, and based off, that seen in popular music and the research collaborators’ opinions, as shared in the fieldwork process. Also presented are details behind the loudness of suona and percussion instruments in this genre, for example the natural frequency arrangement on the spectrum. Thus, this discussion shows how an ethnomusicologist can be responsive to needs shared by the community by applying their professional training in relation to recording; it also reshapes the relationship between researcher and informant in an ethnographic setting, in comparison to previous beiguan research, by engaging the musicians as collaborative listeners in the curation of their own art form.
{"title":"Forming a Collaborative Relationship between a Researcher and the Researched in Contemporary Taiwan: A Case Study from Beiguan Opera (北管戲)","authors":"Ming-hui Ma","doi":"10.33906/musicologist.1183464","DOIUrl":"https://doi.org/10.33906/musicologist.1183464","url":null,"abstract":"In contrast to the practice of one-way collecting and analysing of data from the field as found so far in the beiguan literature, this article presents a role-changing process used in the recording of beiguan opera with the Qinghexuan ensemble (慶和軒) in Taiwan, formed in order to generate bilateral benefits through a collaborative applied project. I discuss both the practical recording skills used in the field and the mixing down skills employed in the studio to demonstrate how the interactive process designed reflects the needs in the community and how the collaboration aspect interfaces with each step of the making and checking of the recording. Firstly, I examine the recording process in the field, including microphone placement and recording strategy. Secondly, I discuss how the utilisation of plug-ins (equaliser, compressor, panning, balance) in the mixing of tracks is similar to, and based off, that seen in popular music and the research collaborators’ opinions, as shared in the fieldwork process. Also presented are details behind the loudness of suona and percussion instruments in this genre, for example the natural frequency arrangement on the spectrum. Thus, this discussion shows how an ethnomusicologist can be responsive to needs shared by the community by applying their professional training in relation to recording; it also reshapes the relationship between researcher and informant in an ethnographic setting, in comparison to previous beiguan research, by engaging the musicians as collaborative listeners in the curation of their own art form.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"175 ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139177767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-17DOI: 10.33906/musicologist.1069010
İrem Yalçiner
Current study based on considering, interpreting and analyzing Arnold Schoenberg’s perspective on tradition and innovation. Verklärte Nacht (1899), which he composed in his tonal period and thus shown as a traditionalist and Pierrot Lunaire (1912) in his free atonal period are discussed to show the composer's different approaches. With this article aimed to show that these approaches do not represent two separate periods and that they create a single style observed in the composer’s works in mutual relationship. Schoenberg's Op. 4 Verklärte Nacht and Op. 21 Pierrot Lunaire No. 8 Nacht explanations were made and interpreted in the context of tradition-innovation relations with descriptive analysis and literature review methods. In addition, tradition and innovation relations in his other works were examined. It is seen that composer still adhered to the 19th century tradition at some points; however, as he himself argues, it would not be right to put Schoenberg into specific style. When examined the different composing periods of the composer, it is possible discern that composer has diverse aspects. It should be noted that the traditionalist and innovative tendencies in the composer's works do not distinguish as simple as it is thought, and the composer should not be evaluated in terms of noncomplex. Results showed that Schoenberg was not a composer who adhered to a single theory or technique, but a versatile composer. Describing the composer as a completely traditionalist or radical innovator would be shortcut and deficient.
{"title":"AN EVALUATION OF ARNOLD SCHOENBERG’S TRADITIONAL AND INNOVATIONAL APPROACHES ON VERKLÄRTE NACHT AND PIERROT LUNAIRE “NACHT”","authors":"İrem Yalçiner","doi":"10.33906/musicologist.1069010","DOIUrl":"https://doi.org/10.33906/musicologist.1069010","url":null,"abstract":"Current study based on considering, interpreting and analyzing Arnold Schoenberg’s perspective on tradition and innovation. Verklärte Nacht (1899), which he composed in his tonal period and thus shown as a traditionalist and Pierrot Lunaire (1912) in his free atonal period are discussed to show the composer's different approaches. With this article aimed to show that these approaches do not represent two separate periods and that they create a single style observed in the composer’s works in mutual relationship. Schoenberg's Op. 4 Verklärte Nacht and Op. 21 Pierrot Lunaire No. 8 Nacht explanations were made and interpreted in the context of tradition-innovation relations with descriptive analysis and literature review methods. In addition, tradition and innovation relations in his other works were examined. It is seen that composer still adhered to the 19th century tradition at some points; however, as he himself argues, it would not be right to put Schoenberg into specific style. When examined the different composing periods of the composer, it is possible discern that composer has diverse aspects. It should be noted that the traditionalist and innovative tendencies in the composer's works do not distinguish as simple as it is thought, and the composer should not be evaluated in terms of noncomplex. Results showed that Schoenberg was not a composer who adhered to a single theory or technique, but a versatile composer. Describing the composer as a completely traditionalist or radical innovator would be shortcut and deficient.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"17 3","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139262593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-17DOI: 10.33906/musicologist.1381950
Gökhan Altinbaş, Songül Karahasanoğlu
The Eastern Black Sea region of Turkey, imbued with a wealth of cultural and historical narratives, boasts a musical heritage characterized by distinctive instruments, vocal styles, and polyphonic structures. This music is a testament to the region's rich identity, intricately woven through the tapestry of time by diverse cultural influences and significant historical events. This research is grounded in the endeavor to unravel the intricate connections within this musical sphere, particularly through the perspectives of intertextuality and hypertextuality. Intertextuality highlights the nuanced dialogues between various musical compositions, offering an enriched view into their intrinsic associations. Hypertextuality, a concept introduced by Gerard Genette and later applied to music by Serge Lacasse, broadens this dialogue, revealing the intricate networks formed through actions such as covering, remixing, and translation. The investigation delves into these dynamics, especially in the popular tunes of the Eastern Black Sea, leveraging analytical techniques from musicology, cultural studies, and media studies. The objective is to understand how intertextuality and hypertextuality amplify the vibrancy and appeal of Eastern Black Sea melodies, shaping their fundamental essence, significance, and worldwide appeal. We aspire to foster profound comprehension of these multifaceted ties, illuminating their role in characterizing the region’s musical and cultural landscapes. This probe contributes a fresh perspective to the ongoing debates in musicology and cultural studies, underscoring the imperative for an all-encompassing and prolonged methodology in musical inquiry, accentuating the power of intertextuality and hypertextuality in grasping the nexus between music and the wider cultural, social, and historical backdrops. This meticulous scrutiny is expected to not only enrich scholarly conversations but also to unveil the myriad of components steering the evolution and impact of the Eastern Black Sea’s abundant musical heritage.
{"title":"Melodies Across Time: Exploring Connections and Context in Eastern Black Sea Popular Music","authors":"Gökhan Altinbaş, Songül Karahasanoğlu","doi":"10.33906/musicologist.1381950","DOIUrl":"https://doi.org/10.33906/musicologist.1381950","url":null,"abstract":"The Eastern Black Sea region of Turkey, imbued with a wealth of cultural and historical narratives, boasts a musical heritage characterized by distinctive instruments, vocal styles, and polyphonic structures. This music is a testament to the region's rich identity, intricately woven through the tapestry of time by diverse cultural influences and significant historical events. This research is grounded in the endeavor to unravel the intricate connections within this musical sphere, particularly through the perspectives of intertextuality and hypertextuality. Intertextuality highlights the nuanced dialogues between various musical compositions, offering an enriched view into their intrinsic associations. Hypertextuality, a concept introduced by Gerard Genette and later applied to music by Serge Lacasse, broadens this dialogue, revealing the intricate networks formed through actions such as covering, remixing, and translation. The investigation delves into these dynamics, especially in the popular tunes of the Eastern Black Sea, leveraging analytical techniques from musicology, cultural studies, and media studies. The objective is to understand how intertextuality and hypertextuality amplify the vibrancy and appeal of Eastern Black Sea melodies, shaping their fundamental essence, significance, and worldwide appeal. We aspire to foster profound comprehension of these multifaceted ties, illuminating their role in characterizing the region’s musical and cultural landscapes. This probe contributes a fresh perspective to the ongoing debates in musicology and cultural studies, underscoring the imperative for an all-encompassing and prolonged methodology in musical inquiry, accentuating the power of intertextuality and hypertextuality in grasping the nexus between music and the wider cultural, social, and historical backdrops. This meticulous scrutiny is expected to not only enrich scholarly conversations but also to unveil the myriad of components steering the evolution and impact of the Eastern Black Sea’s abundant musical heritage.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"37 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139264185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-09DOI: 10.33906/musicologist.1144787
Frank Scherbaum, Meinard Mueller
This paper is concerned with how singers of Georgian traditional vocal music interact when singing together. Applying a variety of computational methods from audio signal processing and music information retrieval (MIR), we examine three existing corpora of (field) recordings for manifestations of a high degree of mutual coordination of the singers' voices. We find numerous examples of harmonically controlled mutual intonation adjustments on both short and long time scales. Furthermore, we believe that the observed differences in melodic and harmonic scales can also be interpreted as (side) effects of the singers' interaction with the possible goal of achieving harmonic togetherness (or consonance) on the time scale of individual (important) notes. In addition, together with the ensemble Khelkhvavi from Ozurgeti, we conducted an experiment demonstrating the synchronization of singers' heartbeat rates during the performance of the Gurian song Chven Mshvidoba. The results of our analysis show that a variety of measurable signs of interaction between singers can be observed and documented in existing corpora of Georgian traditional vocal music. Our experience also shows that relevant information about the synchronization of body functions of singers during performances can nowadays be obtained with reasonable technical and logistical effort even in a ‘real-world’ framework, thereby allowing to address questions related to the ‘ecological validity’ of these kind of measurements.
{"title":"From Intonation Adjustments to Synchronisation of Heart Beat Variability: Singer Interaction in Traditional Georgian Vocal Music","authors":"Frank Scherbaum, Meinard Mueller","doi":"10.33906/musicologist.1144787","DOIUrl":"https://doi.org/10.33906/musicologist.1144787","url":null,"abstract":"This paper is concerned with how singers of Georgian traditional vocal music interact when singing together. Applying a variety of computational methods from audio signal processing and music information retrieval (MIR), we examine three existing corpora of (field) recordings for manifestations of a high degree of mutual coordination of the singers' voices. We find numerous examples of harmonically controlled mutual intonation adjustments on both short and long time scales. Furthermore, we believe that the observed differences in melodic and harmonic scales can also be interpreted as (side) effects of the singers' interaction with the possible goal of achieving harmonic togetherness (or consonance) on the time scale of individual (important) notes. In addition, together with the ensemble Khelkhvavi from Ozurgeti, we conducted an experiment demonstrating the synchronization of singers' heartbeat rates during the performance of the Gurian song Chven Mshvidoba. The results of our analysis show that a variety of measurable signs of interaction between singers can be observed and documented in existing corpora of Georgian traditional vocal music. Our experience also shows that relevant information about the synchronization of body functions of singers during performances can nowadays be obtained with reasonable technical and logistical effort even in a ‘real-world’ framework, thereby allowing to address questions related to the ‘ecological validity’ of these kind of measurements.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139361215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-30DOI: 10.33906/musicologist.1097843
Gonca Gi̇rgi̇n
In the sources of dance history in Türkiye, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the “other” determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as “the other” of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as "dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.
{"title":"On the Marginal Requisites: Overview of Popular Urban Dances in Türkiye","authors":"Gonca Gi̇rgi̇n","doi":"10.33906/musicologist.1097843","DOIUrl":"https://doi.org/10.33906/musicologist.1097843","url":null,"abstract":"In the sources of dance history in Türkiye, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the “other” determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as “the other” of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as \"dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)\". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42900136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-30DOI: 10.33906/musicologist.1074259
Kirsten Catriona Hawson
This article addresses race and inequality through the horror sci-fi genre and the musical landscape of two episodes of Misha Green’s TV series Lovecraft Country (2020). Moral responsibilities are mediated throughout the series via sonic culture; through analysis of the series’ aurality, focus is on the sonic reimagining and resignifying of two episodes: Episode One (E1) “Sundown” and Episode Five (E5) “Strange Case.” The unique blend of sci-fi and Cthulhu Mythos adds an additional layer of horror when situated against the backdrop of the racial realities of African Americans in the 1950s and guides the viewer to experience the familiar horror trope by disrupting the ways we experience sound in TV viewing. The soundtrack produces and thematises different sonic emotions and the result is a 21st-century representation of the 1950s: one that reframes racial inequalities of the time for contemporary sensibilities, while actively using the past as raw material for a new present. In this analysis of historical injustices of Black culture through sonic emotion, this article provides a demonstration on how Lovecraft Country engages with race, gender, and sonic culture while embracing the rich tapestry of Black sound by disrupting narratives, challenging racial temporalities, and inviting change.
{"title":"Black Sound, Sonic Emotion, and Racist Violence in Lovecraft Country","authors":"Kirsten Catriona Hawson","doi":"10.33906/musicologist.1074259","DOIUrl":"https://doi.org/10.33906/musicologist.1074259","url":null,"abstract":"This article addresses race and inequality through the horror sci-fi genre and the musical landscape of two episodes of Misha Green’s TV series Lovecraft Country (2020). Moral responsibilities are mediated throughout the series via sonic culture; through analysis of the series’ aurality, focus is on the sonic reimagining and resignifying of two episodes: Episode One (E1) “Sundown” and Episode Five (E5) “Strange Case.” The unique blend of sci-fi and Cthulhu Mythos adds an additional layer of horror when situated against the backdrop of the racial realities of African Americans in the 1950s and guides the viewer to experience the familiar horror trope by disrupting the ways we experience sound in TV viewing. The soundtrack produces and thematises different sonic emotions and the result is a 21st-century representation of the 1950s: one that reframes racial inequalities of the time for contemporary sensibilities, while actively using the past as raw material for a new present. In this analysis of historical injustices of Black culture through sonic emotion, this article provides a demonstration on how Lovecraft Country engages with race, gender, and sonic culture while embracing the rich tapestry of Black sound by disrupting narratives, challenging racial temporalities, and inviting change.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41472676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-30DOI: 10.33906/musicologist.1185086
Dilara Turan, Belma Oğul
Although the field of contemporary music composition in Türkiye is mainly considered an institutionalization grounded on the nation-state ideology and the cultural policies of the early republic period, the political, economic, and cultural changes experienced in the last 30 years have led to the formation of alternative discourses and new institutionalizations in the field. Among these new formations, the 'yeni müzik' discourse - which can be considered as the local manifestation of the 'new music' discourse that originates in the 20th-century art music canon and the new composition scene shaped around it have marked significant differences in the local contemporary music practice. By providing a critical overview of the local history of the field, examining the early emergence of ‘yeni müzik’, and documenting the post-2000s development of this new compositional institutionalization, the present paper proposes ‘yeni müzik scene’ as an alternative formation and discusses how it differs from its predecessor 'Turkish Contemporary Music' in terms of institutional, social and musical practices. Our account of the topic – which has hardly been studied in the literature – benefits from both historiographical and fieldwork practices, hoping to provide a continuous socio-cultural narrative that situates the ‘yeni müzik scene’ within the local history of contemporary music.
虽然日本当代音乐创作领域主要被认为是一种基于民族国家意识形态和早期共和国时期文化政策的制度化，但过去30年经历的政治、经济和文化变化导致了该领域另类话语和新制度化的形成。在这些新形态中，“yeni mzik”话语可以被认为是起源于20世纪艺术音乐经典的“新音乐”话语的地方表现，围绕它形成的新作曲场景在当地当代音乐实践中有着显著的差异。通过对该领域的当地历史进行批判性概述，研究“yeni m zik”的早期出现，并记录2000年后这种新的作曲制度化的发展，本文提出“yeni m zik场景”作为一种替代形式，并讨论了它在制度，社会和音乐实践方面与其前身“土耳其当代音乐”的不同之处。我们对这一主题的描述——在文献中几乎没有被研究过——受益于史学和田野调查实践，希望提供一个持续的社会文化叙事，将“yeni m zik场景”置于当地当代音乐史中。
{"title":"The Yeni Müzik Scene in Türkiye: How did the ‘New Music’ Discourse Change Local Contemporary Music Practice?","authors":"Dilara Turan, Belma Oğul","doi":"10.33906/musicologist.1185086","DOIUrl":"https://doi.org/10.33906/musicologist.1185086","url":null,"abstract":"Although the field of contemporary music composition in Türkiye is mainly considered an institutionalization grounded on the nation-state ideology and the cultural policies of the early republic period, the political, economic, and cultural changes experienced in the last 30 years have led to the formation of alternative discourses and new institutionalizations in the field. Among these new formations, the 'yeni müzik' discourse - which can be considered as the local manifestation of the 'new music' discourse that originates in the 20th-century art music canon and the new composition scene shaped around it have marked significant differences in the local contemporary music practice. By providing a critical overview of the local history of the field, examining the early emergence of ‘yeni müzik’, and documenting the post-2000s development of this new compositional institutionalization, the present paper proposes ‘yeni müzik scene’ as an alternative formation and discusses how it differs from its predecessor 'Turkish Contemporary Music' in terms of institutional, social and musical practices. Our account of the topic – which has hardly been studied in the literature – benefits from both historiographical and fieldwork practices, hoping to provide a continuous socio-cultural narrative that situates the ‘yeni müzik scene’ within the local history of contemporary music.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44637830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-30DOI: 10.33906/musicologist.1185395
K. Biyikoğlu, Eray Altinbüken
In a video commentary, pianist and conductor Daniel Barenboim (2016) discussed the dangers of verbal descriptions of music by presenting two seemingly contradictory explanations about the ‘meaning’ of the theme of the final movement of Beethoven’s Piano Sonata Op.10/3 given by pianists Edwin Fischer and Claudio Arrau. We examined the tempo and dynamic fluctuations obtained from the studio recordings of this theme by Fischer in 1948 and 1954, and by Arrau in 1964 and 1985 by using the Sonic Visualiser software (Cannam et al., 2010), and interpreted these results by using Steve Larson’s (2012) theory of musical forces, and Robert Hatten’s (2018) theory of virtual agency in western music. According to our analyses, the differences in the performances of Fischer and Arrau can be metaphorically correlated with the different meanings these pianists attributed to Beethoven’s theme. We concluded that the seemingly contradictory verbal descriptions of these pianists indicate different aesthetically warranted emotions they aimed to communicate through their performances of Beethoven’s theme.
在一段视频评论中，钢琴家兼指挥家Daniel Barenboim（2016）讨论了对音乐进行口头描述的危险，他对钢琴家Edwin Fischer和Claudio Arrau对贝多芬钢琴奏鸣曲Op.10/3最后乐章主题的“意义”提出了两种看似矛盾的解释。我们使用Sonic Visualiser软件（Cannam et al.，2010）研究了Fischer在1948年和1954年以及Arrau在1964年和1985年的录音室录音中获得的节奏和动态波动，并使用Steve Larson（2012）的音乐力量理论和Robert Hatten（2018）的西方音乐虚拟代理理论对这些结果进行了解释。根据我们的分析，菲舍尔和阿劳的表演差异可以隐喻地与这些钢琴家对贝多芬主题的不同理解联系起来。我们得出的结论是，这些钢琴家看似矛盾的言语描述表明了他们旨在通过贝多芬主题的表演来传达的不同的美学情感。
{"title":"Aesthetically Warranted Emotions in the Theme of the Final Movement of Beethoven’s Piano Sonata Op.10 No.3","authors":"K. Biyikoğlu, Eray Altinbüken","doi":"10.33906/musicologist.1185395","DOIUrl":"https://doi.org/10.33906/musicologist.1185395","url":null,"abstract":"In a video commentary, pianist and conductor Daniel Barenboim (2016) discussed the dangers of verbal descriptions of music by presenting two seemingly contradictory explanations about the ‘meaning’ of the theme of the final movement of Beethoven’s Piano Sonata Op.10/3 given by pianists Edwin Fischer and Claudio Arrau. We examined the tempo and dynamic fluctuations obtained from the studio recordings of this theme by Fischer in 1948 and 1954, and by Arrau in 1964 and 1985 by using the Sonic Visualiser software (Cannam et al., 2010), and interpreted these results by using Steve Larson’s (2012) theory of musical forces, and Robert Hatten’s (2018) theory of virtual agency in western music. According to our analyses, the differences in the performances of Fischer and Arrau can be metaphorically correlated with the different meanings these pianists attributed to Beethoven’s theme. We concluded that the seemingly contradictory verbal descriptions of these pianists indicate different aesthetically warranted emotions they aimed to communicate through their performances of Beethoven’s theme.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41401024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-30DOI: 10.33906/musicologist.966505
Godwin Ogli̇
Odumu music among the Idoma people in Nigeria has served historical, sociological and entertainment functions. Performed predominantly by male members of the society, female community members are allowed to participate in the dance as a mark of collective cultural identity and responsibility. Communality is a core community ethos among the Idoma which promotes individual expression within a wider communal space. This paper, therefore, examines Odumu musical performance from the angle of its socio-cultural significance as well as its reflection of anthropocentric impact in shaping the environment. In a specific sense, the paper aims to highlight the musical narrative of how the people have encountered and impacted their environment, and how such experience have shaped their cultural expressions using the instrumentality of traditional music and dance. The research adopted observations and interviews as field methods among the Idoma people as well as Odumu performers to obtain data for the research. Analysis of data obtained reveals that Odumu musical performance provides a space for socio-cultural identity, transmission of culture and re-enacting historical facts that promote communal bonding. Hence, it reinforces the larger social sense of belonging. This paper will be of benefit to environmental and cultural scholars by providing knowledge on the intersection of music, culture and the environment among less visible indigenous groups like the Idoma people.
{"title":"Celebrating the Past, Present, and Future: The Case of Odumu Music and Dance Among the Idoma People","authors":"Godwin Ogli̇","doi":"10.33906/musicologist.966505","DOIUrl":"https://doi.org/10.33906/musicologist.966505","url":null,"abstract":"Odumu music among the Idoma people in Nigeria has served historical, sociological and entertainment functions. Performed predominantly by male members of the society, female community members are allowed to participate in the dance as a mark of collective cultural identity and responsibility. Communality is a core community ethos among the Idoma which promotes individual expression within a wider communal space. This paper, therefore, examines Odumu musical performance from the angle of its socio-cultural significance as well as its reflection of anthropocentric impact in shaping the environment. In a specific sense, the paper aims to highlight the musical narrative of how the people have encountered and impacted their environment, and how such experience have shaped their cultural expressions using the instrumentality of traditional music and dance. The research adopted observations and interviews as field methods among the Idoma people as well as Odumu performers to obtain data for the research. Analysis of data obtained reveals that Odumu musical performance provides a space for socio-cultural identity, transmission of culture and re-enacting historical facts that promote communal bonding. Hence, it reinforces the larger social sense of belonging. This paper will be of benefit to environmental and cultural scholars by providing knowledge on the intersection of music, culture and the environment among less visible indigenous groups like the Idoma people.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47264124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：