Istanbul Milli Egitim Mudurlugu’nun Zeytinburnu Sicil Arsivi’ndeki 627 personele ait Osmanlica (eski Turkce) sicil dosyasi isiginda ele alinan Maariften Milli Egitime Istanbul Sicilleri (1878-1965) isimli uc ciltlik eser, ayni zamanda egitimciler icin yayimlanmis ilk bibliyografya ozelligini de ihtiva etmektedir. Bu calismada ise nesredilen eser isiginda, Osmanli Devleti’nin son donemi ile Cumhuriyetin ilk on yilina ait olmak uzere, Istanbul’daki ilk, orta ve lise kademesindeki resmi ve genel egitim kurumlarinda Ginâ, Ginâ-Musiki, ya da Musiki muallimi olarak devlet hizmetinde istihdam edilmis olan 23 egitimcinin biyografilerine yer verilmistir. Yeni belge, bilgi ve bulgularla Turk Musiki Tarihi ve mekteplerdeki Ginâ/Musiki egitimi hakkinda literature katki saglanmaya calisilmistir.
{"title":"İstanbul Maarif sicilleri’nde gınâ-mûsiki muallimlerine ait biyografiler (1894-1931)","authors":"Nuri Güçtekin","doi":"10.12975/pp2412-2443","DOIUrl":"https://doi.org/10.12975/pp2412-2443","url":null,"abstract":"Istanbul Milli Egitim Mudurlugu’nun Zeytinburnu Sicil Arsivi’ndeki 627 personele ait Osmanlica (eski Turkce) sicil dosyasi isiginda ele alinan Maariften Milli Egitime Istanbul Sicilleri (1878-1965) isimli uc ciltlik eser, ayni zamanda egitimciler icin yayimlanmis ilk bibliyografya ozelligini de ihtiva etmektedir. Bu calismada ise nesredilen eser isiginda, Osmanli Devleti’nin son donemi ile Cumhuriyetin ilk on yilina ait olmak uzere, Istanbul’daki ilk, orta ve lise kademesindeki resmi ve genel egitim kurumlarinda Ginâ, Ginâ-Musiki, ya da Musiki muallimi olarak devlet hizmetinde istihdam edilmis olan 23 egitimcinin biyografilerine yer verilmistir. Yeni belge, bilgi ve bulgularla Turk Musiki Tarihi ve mekteplerdeki Ginâ/Musiki egitimi hakkinda literature katki saglanmaya calisilmistir.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43955022","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}
The manifestation of East-West synthesis in the field of music culture in itself covers a wide range of valuable and complex problems. When we look at the historical development of the art of music, which we have defined for centuries as the "Eastern" and "Western" musical culture, we can see that their interrelationships have a very ancient history and are manifested in many ways. The problems we examine in this study are specifically related to the work of national composers of the twentieth century and piano music, which is one of its important branches. The piano music of Azerbaijani composers includes a crossroads of different musical traditions and sources belonging to the East and the West. At the same time, one of the main factors in the formation of piano music is the attachment to national music. However, Azerbaijani composers are never satisfied with this situation, they appeal to different trends and tendencies of European music, and widely use their means of expression. Thus, the factor of nationality is gradually deepens, and as a result, the style of piano music is undergoing a broad evolution. According to national principles, the new features of European music were "diffused" and took a new form of a unique unity and interesting results of a new quality emerged.That is, as a result of the intersection of different musical cultures, a completely new artistic quality is obtained. It finds its interesting, "multicultural" solution not only in the adaptation of the genre but also in the style. Azerbaijani composers are examples of the principles of the East, represented in the oral traditional national music, belonging to the West, neo-romanticism, neoclassicism, neo folklorism, widespread dodecaphonic writing techniques, aleatoric, sonorities, etc. They have proved the inexhaustibility of the possibilities of integration, even with the works they have created as a result of the synthesis of tradition and modernity. The national composer's creativity is combined with the features of our traditional oral music through the artistic and technical means of modern music, new methods of composition, as well as folklore, neo-folklorism, neoclassicism, postmodernism, the latest trends, and styles. It is a manifestation of a problem defined as Western synthesis. At various stages of the development of the piano creativity of Azerbaijani composers, there is a constant interest in new artistic trends, a tendency to renew the means of musical expression. In the first half of the twentieth century, national traditions in Azerbaijani piano music, including the principles flowing from mugham, along with Romanticism and Impressionism, were embedded in the work of European composers. One of them was the tendency of neoclassicism, which was associated with the name of G.Garayev and later found its brilliant manifestation in other areas of the national composer's work. When speaking about the tendency of neoclassicism in the piano work of Azerbaijani c
{"title":"Gara Garayev'in piyano eserlerinde doğu-batı bağlamında uygulanan muğam ilkeleri","authors":"Sevil Mikayilova","doi":"10.12975/pp2382-2395","DOIUrl":"https://doi.org/10.12975/pp2382-2395","url":null,"abstract":"The manifestation of East-West synthesis in the field of music culture in itself covers a wide range of valuable and complex problems. When we look at the historical development of the art of music, which we have defined for centuries as the \"Eastern\" and \"Western\" musical culture, we can see that their interrelationships have a very ancient history and are manifested in many ways. The problems we examine in this study are specifically related to the work of national composers of the twentieth century and piano music, which is one of its important branches. The piano music of Azerbaijani composers includes a crossroads of different musical traditions and sources belonging to the East and the West. At the same time, one of the main factors in the formation of piano music is the attachment to national music. However, Azerbaijani composers are never satisfied with this situation, they appeal to different trends and tendencies of European music, and widely use their means of expression. Thus, the factor of nationality is gradually deepens, and as a result, the style of piano music is undergoing a broad evolution. According to national principles, the new features of European music were \"diffused\" and took a new form of a unique unity and interesting results of a new quality emerged.That is, as a result of the intersection of different musical cultures, a completely new artistic quality is obtained. It finds its interesting, \"multicultural\" solution not only in the adaptation of the genre but also in the style. Azerbaijani composers are examples of the principles of the East, represented in the oral traditional national music, belonging to the West, neo-romanticism, neoclassicism, neo folklorism, widespread dodecaphonic writing techniques, aleatoric, sonorities, etc. They have proved the inexhaustibility of the possibilities of integration, even with the works they have created as a result of the synthesis of tradition and modernity. The national composer's creativity is combined with the features of our traditional oral music through the artistic and technical means of modern music, new methods of composition, as well as folklore, neo-folklorism, neoclassicism, postmodernism, the latest trends, and styles. It is a manifestation of a problem defined as Western synthesis. At various stages of the development of the piano creativity of Azerbaijani composers, there is a constant interest in new artistic trends, a tendency to renew the means of musical expression. In the first half of the twentieth century, national traditions in Azerbaijani piano music, including the principles flowing from mugham, along with Romanticism and Impressionism, were embedded in the work of European composers. One of them was the tendency of neoclassicism, which was associated with the name of G.Garayev and later found its brilliant manifestation in other areas of the national composer's work. When speaking about the tendency of neoclassicism in the piano work of Azerbaijani c","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49319991","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}
{"title":"Etnomüzikoloji disiplininin gelişim süreci ve Türkiye’de yapılan çalışmalar ışığında Martin Stokes’un popüler müzik araştırmalarının incelenmesi","authors":"Şeyma Ersoy Çak","doi":"10.12975/pp2193-2208","DOIUrl":"https://doi.org/10.12975/pp2193-2208","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66338461","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}
What roles might music play in how Syrian migrants in Turkey navigate new socio-economic,political, moral and affective terrains? How might music serve as a source of comfort andnostalgic remembrance in conditions of displacement, or even as a touchstone for contestationover collective memory and the meanings of belonging? This article explores the contradictionsof lived experience among Syrian migrant musicians in Istanbul. Based on ethnographicresearch Istanbul since 2015, this article analyzes the growing Syrian musical culture inIstanbul, focusing on shifts in the relationship of Syrians to their urban environment, changesin their understanding of future horizons (afaq), and how this produces new forms of affectiveengagement both with their homeland and with their new home. Focus on a single artist revealsthe contours of more significant shifts occurring among Syrians in Turkey more generally.
{"title":"From silence into song: Affective horizons and nostalgic dwelling among Syrian musicians in Istanbul","authors":"J. Shannon","doi":"10.12975/pp2169-2180","DOIUrl":"https://doi.org/10.12975/pp2169-2180","url":null,"abstract":"What roles might music play in how Syrian migrants in Turkey navigate new socio-economic,political, moral and affective terrains? How might music serve as a source of comfort andnostalgic remembrance in conditions of displacement, or even as a touchstone for contestationover collective memory and the meanings of belonging? This article explores the contradictionsof lived experience among Syrian migrant musicians in Istanbul. Based on ethnographicresearch Istanbul since 2015, this article analyzes the growing Syrian musical culture inIstanbul, focusing on shifts in the relationship of Syrians to their urban environment, changesin their understanding of future horizons (afaq), and how this produces new forms of affectiveengagement both with their homeland and with their new home. Focus on a single artist revealsthe contours of more significant shifts occurring among Syrians in Turkey more generally.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44415325","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}
Less well explored than the material supplied by European observers of Ottoman musicalpractice, that relating to the Safavid realm is nevertheless instructive, both for the glimpsesit gives of music as a social activity, especially in Isfahan, of the instruments used, and forwhat it reveals about the attitudes of the observers. The contributions of two of the mostperceptive seventeenth-century European commentators are surveyed here, together withthe attempts of an eighteenth-century encyclopaedist to grapple with a Persian theoreticaltext, reflecting a nascent concern with indigenous theory as Enlightenment thinkers developan interest in exploring the music of other cultures while at the same time becoming moreself-confident in their assumptions of European musical superiority.
{"title":"Persian perspectives: Chardin, De la Borde, Kaempfer","authors":"O. Wright","doi":"10.12975/pp2050-2083","DOIUrl":"https://doi.org/10.12975/pp2050-2083","url":null,"abstract":"Less well explored than the material supplied by European observers of Ottoman musicalpractice, that relating to the Safavid realm is nevertheless instructive, both for the glimpsesit gives of music as a social activity, especially in Isfahan, of the instruments used, and forwhat it reveals about the attitudes of the observers. The contributions of two of the mostperceptive seventeenth-century European commentators are surveyed here, together withthe attempts of an eighteenth-century encyclopaedist to grapple with a Persian theoreticaltext, reflecting a nascent concern with indigenous theory as Enlightenment thinkers developan interest in exploring the music of other cultures while at the same time becoming moreself-confident in their assumptions of European musical superiority.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47890121","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}
About Conversation Τhe following conversation is what was humorously called a “jammin’ article”, which was an attempt to improvise a mostly theoretical dialogue on a variety of themes broadly defining Martin Stokes’ oeuvre until today. It is a sort of “free improvisation” produced in the course of spontaneous and rather intimate dialogic writing, as it developed as a non-prescriptive and open-ended process: there was no preset structure or any sort of detailed discussion about our writing strategy, neither any sophisticated editing. Moreover, it is in no way, neither has it aspired to become, an exhaustive overview of the plethora of issues pertaining Martin Stokes’ work, which besides would be impracticable given the article’s economy of words. Most important, such an overview would inevitably be incomplete, as Martin Stokes continues to be a prolific and highly impactful scholar and researcher. Instead, what follows is a specific knot of questions and reflections born out of the residuum of reading and digesting Stokes ever since the early stages of my ethnomusicological studies - questions and reflections also intuitively sculptured in the course of our “jamming”. I am deeply thankful to Martin Stokes for accepting my proposal.
{"title":"Music and the political: a dialogue with Martin Stokes","authors":"Dafni Tragaki, M. Stokes","doi":"10.12975/pp2181-2186","DOIUrl":"https://doi.org/10.12975/pp2181-2186","url":null,"abstract":"About Conversation \u0000Τhe following conversation is what was humorously called a “jammin’ article”, which was an attempt to improvise a mostly theoretical dialogue on a variety of themes broadly defining Martin Stokes’ oeuvre until today. It is a sort of “free improvisation” produced in the course of spontaneous and rather intimate dialogic writing, as it developed as a non-prescriptive and open-ended process: there was no preset structure or any sort of detailed discussion about our writing strategy, neither any sophisticated editing. Moreover, it is in no way, neither has it aspired to become, an exhaustive overview of the plethora of issues pertaining Martin Stokes’ work, which besides would be impracticable given the article’s economy of words. Most important, such an overview would inevitably be incomplete, as Martin Stokes continues to be a prolific and highly impactful scholar and researcher. Instead, what follows is a specific knot of questions and reflections born out of the residuum of reading and digesting Stokes ever since the early stages of my ethnomusicological studies - questions and reflections also intuitively sculptured in the course of our “jamming”. I am deeply thankful to Martin Stokes for accepting my proposal.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48368477","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}
As a musical genre in Turkey, the arabesk has been discussed since the late 1960s in its different ways. While the studies, which address the issue in a musicological and sociologic way or through the lens of anthropology,reveal social and cultural sources living on music, they present interpretations on politics, cultural planning, social action and reaction in Turkey within a historical framework. Especially, Meral Ozbek’s eye-opening study, specific to the arabesk of Orhan Gencebay, has a look at the arabesk music within the lively dynamics of the relation with this environment without being isolated from social-class atmosphere in which it is produced, performed, listened, appeals to and from the cultural climate and zeitgeist. She reveals that it cannot be reduced to “delaying culture” or “illiberalness”, which is articulated in the language of the elite. Another attention grabbing study, which acts along with the awareness that the arabesk is not only a word but a voice as well and examines its forms of handling, is the book titled “The Arabesk Debate” by Martin Stokes. Martin Stokes is an esteemed person who achieved remarkable studies concerning historical course of music within pop culture in Turkey and deals with representation forms of music in the area of performance in addition to music sociology. His study involves point of view of an expert who aims to carry out sociologic analyze of music during the rapid period of change in the 1980s to address an issue which has remained on the agenda among official and popular music institutions in Turkey since the 1960s. Contrary to the representatives of different ideological approaches on the evaluation of case of the arabesk in Turkey, an external point of view helps him to represent a calmer and an objective approach. As a musical genre in Turkey, the arabesk has been discussed since the late 1960s in its different ways. While the studies, which address the issue in a musicological and sociologic way or through the lens of anthropology,reveal social and cultural sources living on music, they present interpretations on politics, cultural planning, social action and reaction in Turkey within a historical framework. Especially, Meral Ozbek’s eye-opening study, specific to the arabesk of Orhan Gencebay, has a look at the arabesk music within the lively dynamics of the relation with this environment without being isolated from social-class atmosphere in which it is produced, performed, listened, appeals to and from the cultural climate and zeitgeist. She reveals that it cannot be reduced to “delaying culture” or “illiberalness”, which is articulated in the language of the elite. Another attention grabbing study, which acts along with the awareness that the arabesk is not only a word but a voice as well and examines its forms of handling, is the book titled “The Arabesk Debate” by Martin Stokes. Martin Stokes is an esteemed person who achieved remarkable studies concerning historical course of m
{"title":"A contribution for pedigree of the Arabesk","authors":"N. S. Turan","doi":"10.12975/pp2149-2151","DOIUrl":"https://doi.org/10.12975/pp2149-2151","url":null,"abstract":"As a musical genre in Turkey, the arabesk has been discussed since the late 1960s in its different ways. While the studies, which address the issue in a musicological and sociologic way or through the lens of anthropology,reveal social and cultural sources living on music, they present interpretations on politics, cultural planning, social action and reaction in Turkey within a historical framework. Especially, Meral Ozbek’s eye-opening study, specific to the arabesk of Orhan Gencebay, has a look at the arabesk music within the lively dynamics of the relation with this environment without being isolated from social-class atmosphere in which it is produced, performed, listened, appeals to and from the cultural climate and zeitgeist. She reveals that it cannot be reduced to “delaying culture” or “illiberalness”, which is articulated in the language of the elite. Another attention grabbing study, which acts along with the awareness that the arabesk is not only a word but a voice as well and examines its forms of handling, is the book titled “The Arabesk Debate” by Martin Stokes. Martin Stokes is an esteemed person who achieved remarkable studies concerning historical course of music within pop culture in Turkey and deals with representation forms of music in the area of performance in addition to music sociology. His study involves point of view of an expert who aims to carry out sociologic analyze of music during the rapid period of change in the 1980s to address an issue which has remained on the agenda among official and popular music institutions in Turkey since the 1960s. Contrary to the representatives of different ideological approaches on the evaluation of case of the arabesk in Turkey, an external point of view helps him to represent a calmer and an objective approach. As a musical genre in Turkey, the arabesk has been discussed since the late 1960s in its different ways. While the studies, which address the issue in a musicological and sociologic way or through the lens of anthropology,reveal social and cultural sources living on music, they present interpretations on politics, cultural planning, social action and reaction in Turkey within a historical framework. Especially, Meral Ozbek’s eye-opening study, specific to the arabesk of Orhan Gencebay, has a look at the arabesk music within the lively dynamics of the relation with this environment without being isolated from social-class atmosphere in which it is produced, performed, listened, appeals to and from the cultural climate and zeitgeist. She reveals that it cannot be reduced to “delaying culture” or “illiberalness”, which is articulated in the language of the elite. Another attention grabbing study, which acts along with the awareness that the arabesk is not only a word but a voice as well and examines its forms of handling, is the book titled “The Arabesk Debate” by Martin Stokes. Martin Stokes is an esteemed person who achieved remarkable studies concerning historical course of m","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46267299","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}
{"title":"Turning youthful adventure into a lifelong project; interview with Martin Stokes","authors":"F. Kutluk","doi":"10.12975/pp2084-2090","DOIUrl":"https://doi.org/10.12975/pp2084-2090","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45732690","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}
Extended AbstractThe authority that spreads all over life is basically the legitimacy of subordination and obedience. The power, hegemony, domination and authority relations appear everywhere in the arena of the main struggle for power. In the context of music, the existence of authority exists in all fields such as music education, music performance, music research and music criticism. These areas are also built with cultural hegemony, domination and power relations. The legitimate basis of authority in the area of power ensures the obedience of those who are subject to it. Notation is the fundamental basis of authority in the field of music as a written text. People who define the “folk” and its music with the nation state building processes establish their authority through their own legitimate grounds with this definition. In other words, the relationship between folk music and authority is constructed within the meanings and values that are imposed on the music in the name of power, as well as the discourses and performances of the individuals and institutions that define the music. However, in this process, there is a problem between the efforts of the standardization of music and the attempt to maintain the authentic characteristics of folk music: On the one hand, the idea of collecting with an ideological approach and defending the authenticity, on the other hand, standardizing and introducing it to universal values, contains contradictions within itself. In the context of folk music, the “folk”, which is the subject of ideology, becomes a source of the aesthetics imposed by notation. Although this aesthetic is seen as reflecting the “essence of the folk” on the one hand, on the other hand it creates its own aesthetics and ideology by the metamorphosis. In this process, the notation becomes a written text that includes an ideology of the Western, modern, rational thought that is intended to be achieved through the construction of the nation state, and is accepted as an official document of how music and hence culture will be shaped. Thus, notation-centered music thought is invented. But here, the tension between the sound/performance and the text/notation is revealed. This situation is not only seen in Ottoman/Turkish music or Turkish folk music, but also in non-Western world music cultures. The notation-centered idea,emerged in the 19th century in the Ottoman Empire and transferred to Turkey in the 20th century, has an approach by which the music is perceived as an “object” and is “fixed” by notation.The memory-based oral transfer of traditional music has been halted by this approach, which includes a systematizing system of education and performance. This systematization process, which developed in parallel with the institutionalization and standardization activities during the early Republican period of Turkey, was built by fixing folk music on a notation-centered basis. The official collections and compilations for this systemizati
{"title":"Notanın otoritesi, otoritenin notası: Türkiye’de nota-merkezli resmî halk müziğinin yapısökümü","authors":"Ulaş Özdemir","doi":"10.12975/pp2122-2148","DOIUrl":"https://doi.org/10.12975/pp2122-2148","url":null,"abstract":"Extended AbstractThe authority that spreads all over life is basically the legitimacy of subordination and obedience. The power, hegemony, domination and authority relations appear everywhere in the arena of the main struggle for power. In the context of music, the existence of authority exists in all fields such as music education, music performance, music research and music criticism. These areas are also built with cultural hegemony, domination and power relations. The legitimate basis of authority in the area of power ensures the obedience of those who are subject to it. Notation is the fundamental basis of authority in the field of music as a written text. \u0000People who define the “folk” and its music with the nation state building processes establish their authority through their own legitimate grounds with this definition. In other words, the relationship between folk music and authority is constructed within the meanings and values that are imposed on the music in the name of power, as well as the discourses and performances of the individuals and institutions that define the music. However, in this process, there is a problem between the efforts of the standardization of music and the attempt to maintain the authentic characteristics of folk music: On the one hand, the idea of collecting with an ideological approach and defending the authenticity, on the other hand, standardizing and introducing it to universal values, contains contradictions within itself. \u0000In the context of folk music, the “folk”, which is the subject of ideology, becomes a source of the aesthetics imposed by notation. Although this aesthetic is seen as reflecting the “essence of the folk” on the one hand, on the other hand it creates its own aesthetics and ideology by the metamorphosis. In this process, the notation becomes a written text that includes an ideology of the Western, modern, rational thought that is intended to be achieved through the construction of the nation state, and is accepted as an official document of how music and hence culture will be shaped. Thus, notation-centered music thought is invented. But here, the tension between the sound/performance and the text/notation is revealed. This situation is not only seen in Ottoman/Turkish music or Turkish folk music, but also in non-Western world music cultures. \u0000The notation-centered idea,emerged in the 19th century in the Ottoman Empire and transferred to Turkey in the 20th century, has an approach by which the music is perceived as an “object” and is “fixed” by notation.The memory-based oral transfer of traditional music has been halted by this approach, which includes a systematizing system of education and performance. This systematization process, which developed in parallel with the institutionalization and standardization activities during the early Republican period of Turkey, was built by fixing folk music on a notation-centered basis. The official collections and compilations for this systemizati","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46844681","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}
{"title":"The republic of love: cultural intimacy in Turkish popular music (2010), Martin Stokes book review","authors":"Şeyma Ersoy Çak","doi":"10.12975/pp2209-2212","DOIUrl":"https://doi.org/10.12975/pp2209-2212","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48415487","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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