Pub Date : 2021-11-27DOI: 10.33906/musicologist.986502
Evangelıa Chaldaeaki̇, Achilleas G. Chaldæakes, Socrates Loupas
{"title":"Historico-musicological Aspects of K. A. Psachos's Archive","authors":"Evangelıa Chaldaeaki̇, Achilleas G. Chaldæakes, Socrates Loupas","doi":"10.33906/musicologist.986502","DOIUrl":"https://doi.org/10.33906/musicologist.986502","url":null,"abstract":"","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46417747","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 : 2021-11-27DOI: 10.33906/musicologist.985434
Yannick Wey
{"title":"A reassessment of Wolfgang Sichardt’s 1936 field recordings of Swiss yodel","authors":"Yannick Wey","doi":"10.33906/musicologist.985434","DOIUrl":"https://doi.org/10.33906/musicologist.985434","url":null,"abstract":"","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49457901","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 : 2021-11-26DOI: 10.33906/musicologist.882808
Y. Uyar
{"title":"Turkish Disco: The Intersection of Anatolian Pop, Groove and Psychedelia","authors":"Y. Uyar","doi":"10.33906/musicologist.882808","DOIUrl":"https://doi.org/10.33906/musicologist.882808","url":null,"abstract":"","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42451326","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 : 2021-11-15DOI: 10.33906/musicologist.988011
Uğur Aslan, Songül Karahasanoğlu
{"title":"Sound Ethnobiology of Musical Instruments: A Sound View of Nature in Manufacturing Kemençe","authors":"Uğur Aslan, Songül Karahasanoğlu","doi":"10.33906/musicologist.988011","DOIUrl":"https://doi.org/10.33906/musicologist.988011","url":null,"abstract":"","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46411596","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 : 2021-06-30DOI: 10.33906/musicologist.890070
Ozan Eren, Emrah Ergene
In this study, we aimed to explore prominent musician Bulent Ortacgil’s album Benimle Oynar Misin (1974). Built upon a musicological and sociological analysis, our main goal is to investigate the effects of this album, which did not attract attention when it was first published, but gained visibility in the following years. This album, which arguably had a protest structure, emerged in the period when the Anatolian Pop movement was dominant, yet showed very different features from this genre. In this investigation, in which we also conducted an analysis considering the concepts of ‘protest music’ and ‘protest musician’, we focused on the features of the album that differed from the early musical examples of the Anatolian Pop movement, which also exemplifies the 1970s protest music in Turkey. We utilized Howard Becker’s “art worlds” approach to discuss how this album, which has different musical elements and unusual lyrics for the time period when it was released, has become a milestone for music production in Turkey over the years. Then, we examined how divisions of labor occurred in the art worlds in which Ortacgil positioned himself. One of the most important findings of this study is that, starting from his first album, Ortacgil’s positioning in the various art worlds in Turkey, in relation to the most prominent artists from Turkey, increased his opportunities to make his album and other songs recognizable over years.
{"title":"A Distinctive Album in Turkey: Bülent Ortaçgil’s Benimle Oynar Mısın","authors":"Ozan Eren, Emrah Ergene","doi":"10.33906/musicologist.890070","DOIUrl":"https://doi.org/10.33906/musicologist.890070","url":null,"abstract":"In this study, we aimed to explore prominent musician Bulent Ortacgil’s album Benimle Oynar Misin (1974). Built upon a musicological and sociological analysis, our main goal is to investigate the effects of this album, which did not attract attention when it was first published, but gained visibility in the following years. This album, which arguably had a protest structure, emerged in the period when the Anatolian Pop movement was dominant, yet showed very different features from this genre. In this investigation, in which we also conducted an analysis considering the concepts of ‘protest music’ and ‘protest musician’, we focused on the features of the album that differed from the early musical examples of the Anatolian Pop movement, which also exemplifies the 1970s protest music in Turkey. We utilized Howard Becker’s “art worlds” approach to discuss how this album, which has different musical elements and unusual lyrics for the time period when it was released, has become a milestone for music production in Turkey over the years. Then, we examined how divisions of labor occurred in the art worlds in which Ortacgil positioned himself. One of the most important findings of this study is that, starting from his first album, Ortacgil’s positioning in the various art worlds in Turkey, in relation to the most prominent artists from Turkey, increased his opportunities to make his album and other songs recognizable over years.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42932244","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 : 2021-06-30DOI: 10.33906/musicologist.885272
Fulya Ucanok
This paper proposes a relational model for electroacoustic composition practice. In the model, relationality focuses on perspectives of response-ability of the composer with more-than-human agents, within an entangled sympoietic musical space. Here, the response-practices are built on acts of listening that entail, aural analysis and embodied practice with material objects. Within the scope of this paper, more-than-human agents are narrowed down to only recorded sounds (fixed media sound files) and physical material objects. In investigating such response-able compositional practices, the model follows Post-humanist and New-materialist strands focusing on various concepts proposed by Karen Barad and Donna Haraway. And in doing so, it aims to re-figure some of the conventional discourses about the concepts of poietic agency, and of multivalence within the composition practice.
{"title":"Towards a Response-Able Electroacoustic Composition Practice: In Search of Sympoietic Multivalence","authors":"Fulya Ucanok","doi":"10.33906/musicologist.885272","DOIUrl":"https://doi.org/10.33906/musicologist.885272","url":null,"abstract":"This paper proposes a relational model for electroacoustic composition practice. In the model, relationality focuses on perspectives of response-ability of the composer with more-than-human agents, within an entangled sympoietic musical space. Here, the response-practices are built on acts of listening that entail, aural analysis and embodied practice with material objects. Within the scope of this paper, more-than-human agents are narrowed down to only recorded sounds (fixed media sound files) and physical material objects. In investigating such response-able compositional practices, the model follows Post-humanist and New-materialist strands focusing on various concepts proposed by Karen Barad and Donna Haraway. And in doing so, it aims to re-figure some of the conventional discourses about the concepts of poietic agency, and of multivalence within the composition practice.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45274830","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 : 2021-06-30DOI: 10.33906/musicologist.880602
R. Foggo
{"title":"Flamenco: Musical Structure and the Practice of Improvisation","authors":"R. Foggo","doi":"10.33906/musicologist.880602","DOIUrl":"https://doi.org/10.33906/musicologist.880602","url":null,"abstract":"","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43999605","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 : 2021-06-30DOI: 10.33906/musicologist.913512
Ulrich Morgenstern
Regardless of Eric Hobsbawm’s negativistic understanding, ‘tradition’ is a powerful and dynamic (and in no way traditionalist) concept in academic folkloristics. The widespread scepticism against ‘traditional music’, both as a recognizable field of research and a matter of theoretical thought, is based on an insufficient and sometimes stereotypic understanding of a term and concept with a fascinating history. I argue that there is good reason to maintain a term which is intrinsically linked to core issues of ethnomusicology, among them community-based music, cultural innovation, oral/aural transmission, sonic orders, and stylistic pluralism.
{"title":"In Defence of the Term and Concept of Traditional Music","authors":"Ulrich Morgenstern","doi":"10.33906/musicologist.913512","DOIUrl":"https://doi.org/10.33906/musicologist.913512","url":null,"abstract":"Regardless of Eric Hobsbawm’s negativistic understanding, ‘tradition’ is a powerful and dynamic (and in no way traditionalist) concept in academic folkloristics. The widespread scepticism against ‘traditional music’, both as a recognizable field of research and a matter of theoretical thought, is based on an insufficient and sometimes stereotypic understanding of a term and concept with a fascinating history. I argue that there is good reason to maintain a term which is intrinsically linked to core issues of ethnomusicology, among them community-based music, cultural innovation, oral/aural transmission, sonic orders, and stylistic pluralism.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46107469","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 : 2021-06-30DOI: 10.33906/musicologist.875348
F. Scherbaum, Nana Mzhavanadze
This paper reports on the results of a follow-up study to Scherbaum and Mzhavanadze (2020) and Mzhavanadze and Scherbaum (2020), which jointly describe the acoustical and musicological properties, respectively, of a new collection of field recordings of three-voiced Svan funeral dirges, known as zar in Svan and zari in Georgian. The focus of the present work is on language–music relation and phonetic properties. It was motivated by the pioneering work of Bolle Zemp (1994; 1997; 2001), who for the first time examined this topic from both an ethnomusicological and a linguistic perspective. We revisit some of Bolle Zemp’s observations and assumptions with a substantially expanded (by a factor of 11) data set and by using computational phonetic analysis tools not available at the time of her study. Her observation of correlations between pitch, duration, and timbre features related to the interjection of woj ( wai ) is consistent with our analysis for only some of the singers. Therefore, rather than assigning a general semantic meaning to these correlations, we offer an alternative interpretation as a natural consequence of the formant tuning techniques, which we found employed in the vocal production of some of the singers.
{"title":"Svan Funeral Dirges (Zär): Language-Music Relation and Phonetic Properties","authors":"F. Scherbaum, Nana Mzhavanadze","doi":"10.33906/musicologist.875348","DOIUrl":"https://doi.org/10.33906/musicologist.875348","url":null,"abstract":"This paper reports on the results of a follow-up study to Scherbaum and Mzhavanadze (2020) and Mzhavanadze and Scherbaum (2020), which jointly describe the acoustical and musicological properties, respectively, of a new collection of field recordings of three-voiced Svan funeral dirges, known as zar in Svan and zari in Georgian. The focus of the present work is on language–music relation and phonetic properties. It was motivated by the pioneering work of Bolle Zemp (1994; 1997; 2001), who for the first time examined this topic from both an ethnomusicological and a linguistic perspective. We revisit some of Bolle Zemp’s observations and assumptions with a substantially expanded (by a factor of 11) data set and by using computational phonetic analysis tools not available at the time of her study. Her observation of correlations between pitch, duration, and timbre features related to the interjection of woj ( wai ) is consistent with our analysis for only some of the singers. Therefore, rather than assigning a general semantic meaning to these correlations, we offer an alternative interpretation as a natural consequence of the formant tuning techniques, which we found employed in the vocal production of some of the singers.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45435405","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}
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