Pub Date : 2023-06-13DOI: 10.33906/musicologist.1271019
Eylül Doğan, Gözde ÇOLAKOĞLU SARI
Ottoman Istanbul had retained its position as the cultural center of the Greek community for centuries. During this period, Greeks interacted with multicultural societies of the city. Their music culture and interests were also influenced by social relations. As a result, they recorded some Ottoman musical pieces in various manuscripts from the 16th to the 20th century. In the 19th century, Greek musicians, mainly cantors started to publish a series of works on Ottoman repertoire and theory. First, ‘Euterpi’ (1830) was published in Istanbul. Then, a number of publications emerged until 1909 when ‘O Rithmographos’, the last theoretical work of the time, was published. At that time, both the reform of the Orthodox Church (1814) under the influence of modernism and the spread of the printing press facilitated the distribution of such books. In order to write makam music with an efficient technique, they brought some theoretical principles of European, Ottoman and church music to their writing culture. Since these theoretical adaptations were the result of both technical needs and cultural tendencies, the Greeks cultivated an epistemic originality in terms of makam theory and narration of the tradition. Moreover, this was the reason that the symbiotic knowledge came out in the aforementioned sources. On the grounds of this case, this study aims to demonstrate the symbiosis and originality by exemplifying the musical knowledge in the Greek-Karamanlidika publications. In this respect, sources will be evaluated in terms of the use of notation, terminology, theory (makam and usûl), repertoire and narration of the makam tradition. The essential target of the study is to carry out a musicological research in those publications considering the multicultural character of the 19th century Istanbul.
{"title":"Epistemic Transmission and Originality in Greek-Karamanlidika Publications Related to Makam Music in the 19th Century Istanbul","authors":"Eylül Doğan, Gözde ÇOLAKOĞLU SARI","doi":"10.33906/musicologist.1271019","DOIUrl":"https://doi.org/10.33906/musicologist.1271019","url":null,"abstract":"Ottoman Istanbul had retained its position as the cultural center of the Greek community for centuries. During this period, Greeks interacted with multicultural societies of the city. Their music culture and interests were also influenced by social relations. As a result, they recorded some Ottoman musical pieces in various manuscripts from the 16th to the 20th century. In the 19th century, Greek musicians, mainly cantors started to publish a series of works on Ottoman repertoire and theory. First, ‘Euterpi’ (1830) was published in Istanbul. Then, a number of publications emerged until 1909 when ‘O Rithmographos’, the last theoretical work of the time, was published. At that time, both the reform of the Orthodox Church (1814) under the influence of modernism and the spread of the printing press facilitated the distribution of such books. In order to write makam music with an efficient technique, they brought some theoretical principles of European, Ottoman and church music to their writing culture. Since these theoretical adaptations were the result of both technical needs and cultural tendencies, the Greeks cultivated an epistemic originality in terms of makam theory and narration of the tradition. Moreover, this was the reason that the symbiotic knowledge came out in the aforementioned sources. On the grounds of this case, this study aims to demonstrate the symbiosis and originality by exemplifying the musical knowledge in the Greek-Karamanlidika publications. In this respect, sources will be evaluated in terms of the use of notation, terminology, theory (makam and usûl), repertoire and narration of the makam tradition. The essential target of the study is to carry out a musicological research in those publications considering the multicultural character of the 19th century Istanbul.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"183 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139370173","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 : 2022-12-26DOI: 10.33906/musicologist.1079964
Sophiko Kotri̇kadze
In today’s Georgia most of the songs by contemporary authors, which are referred to as “folk” have little to do with traditional musical regularities; the examples, disseminated as specific, established variants are also called "folk". Modernized instruments created in the 20th century are also regarded as folk. It is strange that their consideration as folk examples is often acceptable to their authors. The article aims to study contemporary author’s songs and to reveal their connection with the regularities of folk musical language. In the modern era the author’s songs on folklore motives have not yet been given name in science. Georgian researchers refer to such examples as “para folklore”, “modernized folklore” and “pop-folk”. In all three definitions they are called folklore. The difference between them is shown only by the pre word. The article poses specific problems and shows possible solutions to them, for example: what approximates contemporary author’s songs with folk tradition? Why are they considered folk? What are their characteristic musical features? What factor contributes to the popularity of these examples? Also, basing on the musical analysis and personal interviews, discussed is folk character of the repertoire of contemporary author’s song performers (trio “Mandili”, Gogochuri sisters, group “Bani”, Davit Kenchiashvili).
{"title":"The Folklore Issue of Contemporary Author’s Songs in Georgian Folk Music","authors":"Sophiko Kotri̇kadze","doi":"10.33906/musicologist.1079964","DOIUrl":"https://doi.org/10.33906/musicologist.1079964","url":null,"abstract":"In today’s Georgia most of the songs by contemporary authors, which are referred to as “folk” have little to do with traditional musical regularities; the examples, disseminated as specific, established variants are also called \"folk\". Modernized instruments created in the 20th century are also regarded as folk. It is strange that their consideration as folk examples is often acceptable to their authors. The article aims to study contemporary author’s songs and to reveal their connection with the regularities of folk musical language. \u0000In the modern era the author’s songs on folklore motives have not yet been given name in science. Georgian researchers refer to such examples as “para folklore”, “modernized folklore” and “pop-folk”. In all three definitions they are called folklore. The difference between them is shown only by the pre word. \u0000The article poses specific problems and shows possible solutions to them, for example: what approximates contemporary author’s songs with folk tradition? Why are they considered folk? What are their characteristic musical features? What factor contributes to the popularity of these examples? Also, basing on the musical analysis and personal interviews, discussed is folk character of the repertoire of contemporary author’s song performers (trio “Mandili”, Gogochuri sisters, group “Bani”, Davit Kenchiashvili).","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45679665","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 : 2022-12-08DOI: 10.33906/musicologist.1067931
Guzel Sayfullina
The name of the Central Asian mystic Sulaymān Bāḳirg̲h̲ānī/Ḥakīm Ata and the literary legacy, attributed to him, were well-known among the Tatar Muslims of the Volga region in Russia till the middle of the 20th century. A representative of the Yasawiya tariqat that in the past was widespread among the Tatars, he was venerated as a saint and as an author of many popular poems. The recitation of these texts became a part of “the book chanting” /kitap köyläp uqu/ tradition. A special place in this repertoire was taken by the Sufi anthology “Bāḳirg̲h̲ān kitābī”, which was repeatedly published in Kazan from 1846. Thanks to these editions before the revolution of 1917, this collection could be found in almost every Tatar house. Till almost the mid of the 20th century texts of this book were recited with tunes called “Bāḳirg̲h̲ān köe”. At present, one can state the disappearance of this tradition in the Tatar environment, as well as the knowledge both about Bāḳirg̲h̲ānī himself and the collection under his name. The aim of this article is to show the specificity of the perception of the texts ascribed to Bāḳirg̲h̲ānī in Tatar culture and to follow the changes of their interpretation in the Tatar milieu towards the beginning of the 21st century. The study is based on the analysis of little studied textual sources and materials collected in the territory of the Tatarstan Republic on field trips in the 1990-2000s.
{"title":"SULAYMĀN BĀḲIRG̲H̲ĀNĪ IN THE CULTURE OF THE VOLGA TATARS: THE PHENOMENON OF THE “BĀḲIRG̲H̲ĀN KITĀBĪ”","authors":"Guzel Sayfullina","doi":"10.33906/musicologist.1067931","DOIUrl":"https://doi.org/10.33906/musicologist.1067931","url":null,"abstract":"The name of the Central Asian mystic Sulaymān Bāḳirg̲h̲ānī/Ḥakīm Ata and the literary legacy, attributed to him, were well-known among the Tatar Muslims of the Volga region in Russia till the middle of the 20th century. A representative of the Yasawiya tariqat that in the past was widespread among the Tatars, he was venerated as a saint and as an author of many popular poems. The recitation of these texts became a part of “the book chanting” /kitap köyläp uqu/ tradition. A special place in this repertoire was taken by the Sufi anthology “Bāḳirg̲h̲ān kitābī”, which was repeatedly published in Kazan from 1846. Thanks to these editions before the revolution of 1917, this collection could be found in almost every Tatar house. Till almost the mid of the 20th century texts of this book were recited with tunes called “Bāḳirg̲h̲ān köe”. At present, one can state the disappearance of this tradition in the Tatar environment, as well as the knowledge both about Bāḳirg̲h̲ānī himself and the collection under his name. \u0000The aim of this article is to show the specificity of the perception of the texts ascribed to Bāḳirg̲h̲ānī in Tatar culture and to follow the changes of their interpretation in the Tatar milieu towards the beginning of the 21st century. The study is based on the analysis of little studied textual sources and materials collected in the territory of the Tatarstan Republic on field trips in the 1990-2000s.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46102779","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 : 2022-09-01DOI: 10.33906/musicologist.1068947
F. Scherbaum, Nana Mzhavanadze, Sebastian Rosenzweig, Meinard Müller
In this study we examine the tonal organization of the 2016 GVM dataset, a newly-created corpus of high-quality multimedia field recordings of traditional Georgian singing (with focus on Svaneti) which we collected during the summer of 2016. Because of the peculiarities of the performance practice of traditional Svan singing (e.g, exhibiting a considerable gradual pitch drift and a non-western tuning system), we developed a new processing pipeline for the computational analysis of non-western polyphonic music which was subsequently used to determine the melodic and harmonic tuning systems for the complete 2016 GVM dataset. In this context, we investigated the stability of the obtained tuning systems from an ensemble-, a song-, and a corpus-related perspective to evaluate under what conditions a single tuning system might be representative for current Svan performance practice. Furthermore, we compared the resulting Svan tuning systems with the tuning systems obtained for the Erkomaishvili dataset (Rosenzweig et al. 2020) in the study by Scherbaum et al. (2020). In comparison to a 12-TET (12-tone-equal-temperament) system, the Erkomaishvili and the Svan tuning systems are surprisingly similar. Both systems show a strong presence of pure fourths (500 cents) and fifths (700 cents), and ‘neutral’ thirds (peaking around 350 cents) as well as ‘neutral’ sixths. In addition, the sizes of the melodic and the harmonic seconds in both tuning system differ systematically from each other, with the size of the harmonic second second (close to 200 cents) being systematically larger than the melodic one (often between 150 and 180 cents). The current results underline the need for new unbiased representation forms for non-western music as they raise serious questions with respect to the practice of transcribing traditional Georgian music into a western notation system in which neither the ‘neutral’ intervals nor the gradual pitch drifts can be appropriately represented.
在本研究中，我们研究了2016年GVM数据集的音调组织，这是我们在2016年夏天收集的传统格鲁吉亚歌唱(重点是Svaneti)的高质量多媒体现场录音新创建的语料库。由于传统Svan歌唱表演实践的特殊性(例如，表现出相当大的渐变音高漂移和非西方调音系统)，我们开发了一种新的处理管道，用于非西方复调音乐的计算分析，随后用于确定完整的2016 GVM数据集的旋律和谐波调音系统。在这种情况下，我们从合奏、歌曲和语料库相关的角度研究了所获得的调谐系统的稳定性，以评估在什么条件下单个调谐系统可能代表当前的Svan表演实践。此外，我们将得到的Svan调谐系统与Scherbaum et al.(2020)的研究中为Erkomaishvili数据集(Rosenzweig et al. 2020)获得的调谐系统进行了比较。与12-TET (12-tone-equal-temperament)系统相比，Erkomaishvili和Svan的调音系统惊人地相似。这两个系统都显示出大量的纯四分之一(500美分)和五分之一(700美分)，“中性”三分之一(峰值约为350美分)和“中性”六分之一。此外，两种调音系统的旋律秒和谐波秒的大小也存在系统差异，其中谐波秒的大小(接近200分)系统地大于旋律秒的大小(通常在150分到180分之间)。目前的结果强调了对非西方音乐新的无偏见表现形式的需要，因为它们提出了关于将传统格鲁吉亚音乐转录为西方符号系统的实践的严重问题，其中“中性”音程和逐渐的音高漂移都不能适当地表示。
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Pub Date : 2022-06-18DOI: 10.33906/musicologist.1079507
Zaal Tsereteli̇
The texts of Georgian polyphonic chants (heirmoi), written down in the 19th century using the European notational system, can be found in medieval musical manuscripts as well. Is there any connection between these two sources with at least ten century-long time difference? The article reveals nine heirmoi with the final cadences of their last clauses having similar patterns of neume symbol arrangement and similar melodies in corresponding musical scores. The correlation between the earliest and latest melody types has been established. By obtaining the exact probability of occurring this kind of correspondence the strength of the relationship has been assessed. Based on the fact, that the probability obtained proved to be very small, the hypothesis of pure chance has been rejected. The following conclusion has been drawn: it is very likely that despite the faults of the oral transmission method medieval hymns safely reached the 19th century due to the non-interrupted musical tradition.
{"title":"On the Evidence that Confirms the Continuity of Georgian Chant Tradition","authors":"Zaal Tsereteli̇","doi":"10.33906/musicologist.1079507","DOIUrl":"https://doi.org/10.33906/musicologist.1079507","url":null,"abstract":"The texts of Georgian polyphonic chants (heirmoi), written down in the 19th century using the European notational system, can be found in medieval musical manuscripts as well. Is there any connection between these two sources with at least ten century-long time difference? The article reveals nine heirmoi with the final cadences of their last clauses having similar patterns of neume symbol arrangement and similar melodies in corresponding musical scores. The correlation between the earliest and latest melody types has been established. By obtaining the exact probability of occurring this kind of correspondence the strength of the relationship has been assessed. Based on the fact, that the probability obtained proved to be very small, the hypothesis of pure chance has been rejected. The following conclusion has been drawn: it is very likely that despite the faults of the oral transmission method medieval hymns safely reached the 19th century due to the non-interrupted musical tradition.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48143985","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 : 2022-05-28DOI: 10.33906/musicologist.1099343
Serkan Şener, Belma Oğul, Robert F. Reigle
Grup Metronom played a leading role in the development of Turkish arabesk music during the 1970s. Delineating the social and musical relationships within the group reveals a new perspective on the blending of genres, challenging the received view of the history of arabesk. Evidence of the sounds resulting from those relationships can be traced in two songs by Grup Metronom, analyzed herein. Based on in-depth interviews with prominent actors who shaped the scene and witnessed the historical process, the article attempts to illuminate how a group of musicians with diverse backgrounds-from makam (both folk and art), jazz, and Western symphonic traditions- interacted, performed, and were perceived by other musicians, in the cultivation of arabesk music. Hence, the proposed narrative challenges the assumption that arabesk music wascreated by a group of marginal musicians, who shared a common cultural ground. The argument is also supported by the musical analysis of selected works -which have been appreciated by studio musicians, arrangers, or music directors- to define musical tendencies and eclectic structures. Text analysis (e.g., lyrics, melodic contour, scale, and form), performance analysis (arrangement, orchestration, vocal and instrumental interpretation, and timbre), and other musical inputs (recording, use of decorative sounds, and mix) constitute most of the stylistic interpretations in the paper. The musical analyses are supported with transcriptions, which aim to exemplify certain points emphasized in text and display arrangements of the performances in unity to provide sources for further studies. The article also attempts to elaborate the issues related with Arabic influence on the arabesk music; and ground some of them through the stories of the actors in the case and analysis of the sonic environment in their products.
Grup Metronom在20世纪70年代土耳其阿拉伯音乐的发展中发挥了主导作用。描绘出该团体内部的社会和音乐关系，揭示了一个关于流派融合的新视角，挑战了人们对阿拉伯人历史的普遍看法。这些关系产生的声音的证据可以在Grup Metronom的两首歌曲中找到，本文对此进行了分析。本文通过对塑造场景和见证历史进程的杰出演员的深入采访，试图阐明一群来自马卡姆（民间和艺术）、爵士乐和西方交响传统的不同背景的音乐家在阿拉伯音乐的培养过程中是如何互动、表演和被其他音乐家感知的。因此，所提出的叙事挑战了阿拉伯音乐是由一群有着共同文化基础的边缘音乐家创造的假设。这一论点也得到了对选定作品的音乐分析的支持，这些作品受到了工作室音乐家、编曲家或音乐导演的赞赏，以定义音乐倾向和折衷结构。文本分析（如歌词、旋律轮廓、音阶和形式）、表演分析（编曲、配器、声乐和器乐解释以及音色）和其他音乐输入（录音、装饰音的使用和混音）构成了本文的大部分风格解释。音乐分析得到了转录的支持，旨在举例说明文本中强调的某些点，并将表演的安排统一起来，为进一步的研究提供来源。文章还试图阐述阿拉伯对阿拉伯音乐的影响；并通过案例中演员的故事和对其产品中声音环境的分析，为其中一些人奠定了基础。
{"title":"RE-EVALUATING THE ROOTS OF ARABESK MUSIC: GRUP METRONOM","authors":"Serkan Şener, Belma Oğul, Robert F. Reigle","doi":"10.33906/musicologist.1099343","DOIUrl":"https://doi.org/10.33906/musicologist.1099343","url":null,"abstract":"Grup Metronom played a leading role in the development of Turkish arabesk music during the 1970s. Delineating the social and musical relationships within the group reveals a new perspective on the blending of genres, challenging the received view of the history of arabesk. Evidence of the sounds resulting from those relationships can be traced in two songs by Grup Metronom, analyzed herein. Based on in-depth interviews with prominent actors who shaped the scene and witnessed the historical process, the article attempts to illuminate how a group of musicians with diverse backgrounds-from makam (both folk and art), jazz, and Western symphonic traditions- interacted, performed, and were perceived by other musicians, in the cultivation of arabesk music. Hence, the proposed narrative challenges the assumption that arabesk music wascreated by a group of marginal musicians, who shared a common cultural ground. The argument is also supported by the musical analysis of selected works -which have been appreciated by studio musicians, arrangers, or music directors- to define musical tendencies and eclectic structures. Text analysis (e.g., lyrics, melodic contour, scale, and form), performance analysis (arrangement, orchestration, vocal and instrumental interpretation, and timbre), and other musical inputs (recording, use of decorative sounds, and mix) constitute most of the stylistic interpretations in the paper. The musical analyses are supported with transcriptions, which aim to exemplify certain points emphasized in text and display arrangements of the performances in unity to provide sources for further studies. The article also attempts to elaborate the issues related with Arabic influence on the arabesk music; and ground some of them through the stories of the actors in the case and analysis of the sonic environment in their products.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42595288","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 : 2022-05-28DOI: 10.33906/musicologist.1079674
Ruşen CAN ACET, Batuhan Başar, Tolgahan Çoğulu, Atlas Çoğulu, Tony Italia, Selçuk Keser
One of the modern classical guitar’s biggest strengths is also one of its biggest weaknesses. The instrument depends on an Equal Temperament fretboard system that has lent itself to brilliant repertoire and ease of production, yet this same fretboard system does not lend itself to perfectly tuned notes and tuning systems not found in Eurocentric classical music. Many guitarists and luthiers have sought a fretboard system that marries the benefits of equal temperament with the rich possibilities of just intonation and other tuning systems. This paper presents two new fretboard designs and discuss their role in the history of guitar fretboard construction. Our first design is a fully functional fretboard made from the popular toy “Legos” and solves many of the problems that previous designs had, including ease of use and production, affordability, and versatility. Our second design is a one-string prototype for an automatic (automated) fretboard that would allow performers to switch tuning systems instantly at the press of a button.
{"title":"NEW ADDITIONS TO THE GUITAR FAMILY: Lego and Automatic Microtonal Guitars","authors":"Ruşen CAN ACET, Batuhan Başar, Tolgahan Çoğulu, Atlas Çoğulu, Tony Italia, Selçuk Keser","doi":"10.33906/musicologist.1079674","DOIUrl":"https://doi.org/10.33906/musicologist.1079674","url":null,"abstract":"One of the modern classical guitar’s biggest strengths is also one of its biggest weaknesses. The instrument depends on an Equal Temperament fretboard system that has lent itself to brilliant repertoire and ease of production, yet this same fretboard system does not lend itself to perfectly tuned notes and tuning systems not found in Eurocentric classical music. Many guitarists and luthiers have sought a fretboard system that marries the benefits of equal temperament with the rich possibilities of just intonation and other tuning systems. This paper presents two new fretboard designs and discuss their role in the history of guitar fretboard construction. Our first design is a fully functional fretboard made from the popular toy “Legos” and solves many of the problems that previous designs had, including ease of use and production, affordability, and versatility. Our second design is a one-string prototype for an automatic (automated) fretboard that would allow performers to switch tuning systems instantly at the press of a button.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44584273","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 : 2022-05-27DOI: 10.33906/musicologist.1014113
Burçin Bahadır Güner
Sufi rituals are believed to be compiled by the founder (pîr) of the order. Therefore, the ritual conductor (şeyh, postnişin) symbolizes the founder. Every ritual form consists of chanting (dhikr) the several divine names (esmâ). While participants perform the divine names with drone-like melodic repetitions or guttural rhythmic ostinatos, musicians perform songs, recitations, and improvisations. Through rhythmic enunciation, body sway, and breath control, these chants are embodied as ostinatos while music fluctuates the mood. This article illustrates how ritual formality and its subjective experience reflect certain concepts of Sufism.
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Pub Date : 2022-04-08DOI: 10.33906/musicologist.1000997
Emel Funda Türkmen, Mete Gökçe
Choirs constitute an important area of music education and play an important role in increasing the artistic, social, and academic quality of societies as well as spreading music education. Choir festivals, in which the works performed in choirs are exhibited, have become widespread in Turkey for the last ten years, and it is observed that the choirs participating in these festivals also participate in various events and festivals abroad. These festivals and events are important for choir members and conductors, as they introduce themselves and provide opportunities for choirs to take the stage outside of their own environment. Choirs from within each country and from all over the world participate in national-international festivals and festivities held in Turkey and in various countries of the world, exhibit their works, and benefit from these activities as a social and touristic trip. In this research, a study was conducted on the expenditures of 3 choirs and 4 organizations in order to address the economic dimension of choral festivals. In the study, the participation process of the three choirs in the choir’s festival/festivities held in a different city was discussed, and it was tried to determine what kind of expenditures a choir made, based on their expenditures during this participation process. In addition, the expenditures made in the organization of the 4 choir festivals were tried to be revealed and the economic dimensions of the festivals were tried to be exhibited. Thus, it is desired that the choir educators and conductors who will participate in the choir festivals/festivities are informed about financial expenditures and that the executives of the cities where the festival/festivities are held should follow the issue carefully.
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Pub Date : 2021-11-29DOI: 10.33906/musicologist.956706
O. Eren, U. Güven
The main objective of this article is to analyze the development and the contemporary artistic milieu of microtonal guitar culture in Turkey. With a particular focus on the adjustable microtonal guitar developed by Tolgahan Çoğulu, we examined musicians’ experiences and the ways that they relate to this musical instrument. We used qualitative research methods and conducted in-depth interviews with our key informant and adviser Tolgahan Çoğulu as well as eight musicians who specialize in microtonal guitar. We utilized Bennett and Peterson’s definition of “scene” to discuss microtonal guitar culture in Turkey. After briefly presenting the development of guitar music and questioning the nature of its representation in Istanbul, we analyzed the themes that emerged in conversation with the guitar players. We determined that our interviewees, who are educated, enthusiastic and committed musicians, are all influenced by Tolgahan Çoğulu’s efforts to shape the microtonal guitar world and are driven by their own artistic motivations. We found that musicians shared views on the innovative and promising qualities as well as certain live performance-related difficulties of this instrument –including the need to hammer new frets for different tuning systems on stage and the necessity of sharing microtonal guitar music recordings or videos using new media technologies. Although musical pieces in the microtonal guitar repertoire are mainly rooted in Turkish music, many consider this instrument to be an attempt towards overcoming the generally accepted distinctions between Western and Eastern music. We aim to contribute to further analysis of this flourishing music culture through our discussions on future implications of the current situation and our projections for the growing interest in microtonal music in Turkey.
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