Pub Date : 2023-02-17DOI: 10.12975/rastmd.20231111
Rreze Kryeziu Breznica
The development of Albanian Art Music in Kosovo started after World War II and it shared the same fate as other countries situated in the Balkans. Art Music of Kosovo has gone through different political, social and economic situations as all other countries which were part of the then ex- Yugoslavia (1918-1991). However, the impact was stronger due to the beginning of the last war in Kosovo (commencing in 1990, almost a decade before the war), a war that made ten mandatory years desertion of the cultural and educational life of Albanians in Kosovo. The above-mentioned political and social circumstances, as well as other dramatic changes within Kosovo have negatively affected the development of Albanian Art Music in Kosovo, which, from my perspective, was and is a neutral sphere of identity, as it started in a vacuum – i.e., an emptiness, in terms of its activities which did not exist before 20th century. This article, strives to identify the existence of Art Music in Kosovo whose development when observed, acts as evidence just how great an achievement can be reached over a very short period of time. Its main purpose is to highlight the first steps towards its initiation and also the growing European music tradition within a society which was isolated for centuries. Keywords: art music, kosovo albanians, isolation, social-political impact, central resources
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Pub Date : 2022-12-31DOI: 10.12975/rastmd.20221047
Zehra Tülin Deği̇rmenci̇, Turan Sağer
Öz On dokuzuncu yüzyılın ilk çeyreğinde geliştirilen Hamparsum müzik yazısı, geçmişi hatırlamamızı sağlayan bazı ezgilerin yanı sıra, büyük bir kültürel yapının yeniden kurgulanmasını sağlayacak tarihsel verileri de günümüze aktarır. Bu çalışma, bir müzik yazısının görünen anlamları dışındakilere odaklanarak, mitler, metaforlar ve kodlar aracılığıyla anlamı yeniden inşa etmek üzere kurgulanmıştır. Tarihsel yapı bütünü içinde, kültürel ve müzikal göstergeler arasındaki bağlantıların çözümlenmesi hedeflenmiş, bu amaçla, İstanbul Üniversitesi Nadir Eserler Kütüphanesi Arşivi Hamparsum el yazmaları koleksiyonunda bulunan, Y.213/11 arşiv numaralı Hamparsum defteri kaynak olarak değerlendirilmiştir. Rastgele bir düzende dizilmiş izlenimi veren müzikal yapılar, metinlerarasılığın verileriyle okunup açıklanmıştır. Toplumun hafızasında elenerek ve zamanda yer değiştirerek aktarılan müziğin kanonu temsil ettiği bilgisine ulaşmak, bu kuram tasarımından beklenen sonuçtur.
{"title":"Hamparsum müzik el yazmalarının Mevlevi müziklerine ait belgelerle müzikal içerik açısından karşılaştırılması","authors":"Zehra Tülin Deği̇rmenci̇, Turan Sağer","doi":"10.12975/rastmd.20221047","DOIUrl":"https://doi.org/10.12975/rastmd.20221047","url":null,"abstract":"Öz \u0000 \u0000On dokuzuncu yüzyılın ilk çeyreğinde geliştirilen Hamparsum müzik yazısı, geçmişi hatırlamamızı sağlayan bazı ezgilerin yanı sıra, büyük bir kültürel yapının yeniden kurgulanmasını sağlayacak tarihsel verileri de günümüze aktarır. Bu çalışma, bir müzik yazısının görünen anlamları dışındakilere odaklanarak, mitler, metaforlar ve kodlar aracılığıyla anlamı yeniden inşa etmek üzere kurgulanmıştır. Tarihsel yapı bütünü içinde, kültürel ve müzikal göstergeler arasındaki bağlantıların çözümlenmesi hedeflenmiş, bu amaçla, İstanbul Üniversitesi Nadir Eserler Kütüphanesi Arşivi Hamparsum el yazmaları koleksiyonunda bulunan, Y.213/11 arşiv numaralı Hamparsum defteri kaynak olarak değerlendirilmiştir. Rastgele bir düzende dizilmiş izlenimi veren müzikal yapılar, metinlerarasılığın verileriyle okunup açıklanmıştır. Toplumun hafızasında elenerek ve zamanda yer değiştirerek aktarılan müziğin kanonu temsil ettiği bilgisine ulaşmak, bu kuram tasarımından beklenen sonuçtur.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48295016","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 : 2022-12-30DOI: 10.12975/rastmd.20221044
Mehmet Öncel, Turgut Yahşi
Mûsikî nazariyesinin kaide ve kurallarının daha iyi anlaşılabilmesi adına geçmişte yapılmış çalışmaların incelenmesi oldukça önemli bir yer teşkil etmektedir. Bu yönüyle ele alınan makalemizde hangi kavramların hangi manaya tekabül ettiğini ortaya koyma gayretinde olacağız. Araştırmanın konusu sabık alimlerin eserlerinden istifade ederek gelişme kaydetmeye çalışan iki eserin karşılaştırılmasıdır. Safedî’nin Risale fi İlmi’l Mûsikâ’sı ile müellifi bilinmeyen eş-Şeceretu Zati'l-İkmâm el-Haviye li-Usuli’l-Engam isimli eserlerin telif edildikleri yüzyıllar farklı olmasına rağmen ele aldıkları meseleler birbirine oldukça müşabehet göstermektedir. Çalışmanın sınırlılığı zikri geçen iki eserin muhtevasıdır. Sistematik müzikolojinin prensiplerine göre bilgilerin ele alındığı bu çalışmada kullanılacak yöntem nitel araştırma olup, metodolojisi ise doküman taramasıyla elde edilen verilerin karşılaştırma, metin tahlili, örnekleme ve içerik analiziyle işlenmesidir. Böylelikle bu iki eserin biçim ve içerik kapsamında değerlendirilmesi ve karşılaştırması sağlanacaktır. Eserlerin makam-avaze-şube bağlamında farklı unsurlar ile ilişkilendirilmesi tespit edilerek, iki eserdeki benzerlik ve farklılıklar gösterilecektir. Bu benzerlik ve farklılıkların daha iyi anlaşılması adına tablo ve grafiklerden yararlanılmıştır.
为了更好地了解音乐剧《拿撒里》的位置和规律，研究过去的作品是非常重要的。在我们这样写的文章中，我们将能够展示哪些概念是可以接受的。这项研究比较了科学家们试图记录进展的两项耐心工作。萨夫迪的Risale fi I´lmi´l Musique展示了很多争议，尽管他们接管了他的妻子Zati´l´Ikhamam el Havi l´Usuli´l-Engam描述的作品已经有好几个世纪了，但他并不知道。Çalışmanın sınırlılığızikri geçen iki eserin muhtevasıdır。根据系统音乐的原理，在本研究中使用信息的方式是对通过文档扫描获得的数据进行分析、比较、分析、采样和内部分析。因此，除了内容之外，还将对这两种形式进行评估和比较。对象之间的方程式和差异将与对象的宏avaze网络一起识别。这些相似和不同之处是为了更好地理解绘画和图形。
{"title":"Salahaddin Safedî’nin Risale fi İlmi’l Mûsikâ ile müellifi meçhul eş-Şeceretu Zati'l-İkmâm el-Haviye li-Usuli’l-Engam isimli eserlerin şekil ve içerik bağlamında karşılaştırılması","authors":"Mehmet Öncel, Turgut Yahşi","doi":"10.12975/rastmd.20221044","DOIUrl":"https://doi.org/10.12975/rastmd.20221044","url":null,"abstract":"Mûsikî nazariyesinin kaide ve kurallarının daha iyi anlaşılabilmesi adına geçmişte yapılmış çalışmaların incelenmesi oldukça önemli bir yer teşkil etmektedir. Bu yönüyle ele alınan makalemizde hangi kavramların hangi manaya tekabül ettiğini ortaya koyma gayretinde olacağız. Araştırmanın konusu sabık alimlerin eserlerinden istifade ederek gelişme kaydetmeye çalışan iki eserin karşılaştırılmasıdır. Safedî’nin Risale fi İlmi’l Mûsikâ’sı ile müellifi bilinmeyen eş-Şeceretu Zati'l-İkmâm el-Haviye li-Usuli’l-Engam isimli eserlerin telif edildikleri yüzyıllar farklı olmasına rağmen ele aldıkları meseleler birbirine oldukça müşabehet göstermektedir. Çalışmanın sınırlılığı zikri geçen iki eserin muhtevasıdır. Sistematik müzikolojinin prensiplerine göre bilgilerin ele alındığı bu çalışmada kullanılacak yöntem nitel araştırma olup, metodolojisi ise doküman taramasıyla elde edilen verilerin karşılaştırma, metin tahlili, örnekleme ve içerik analiziyle işlenmesidir. Böylelikle bu iki eserin biçim ve içerik kapsamında değerlendirilmesi ve karşılaştırması sağlanacaktır. Eserlerin makam-avaze-şube bağlamında farklı unsurlar ile ilişkilendirilmesi tespit edilerek, iki eserdeki benzerlik ve farklılıklar gösterilecektir. Bu benzerlik ve farklılıkların daha iyi anlaşılması adına tablo ve grafiklerden yararlanılmıştır.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43271458","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 : 2022-12-30DOI: 10.12975/rastmd.20221046
Violetta Ayderova
Music transcription (transcribing music into notation form) is one of the most preferred methods of preserving traditional music, which is generally transmitted orally. The purpose of this study is to generate educational material through the collaborative analysis and editing of six music transcriptions of Malay asli music for a trio of flute, viola, and piano. This research stems from questioning whether the six transcriptions sufficiently convey traditional music characteristics and features or whether these characteristics and features need to be imitated from the original sound. The research is practice-led, employing experimental and analytical approaches combined with participants, also assuming the role of researcher and collecting data via self-observation. Following the outcome of recapitulation via artistic analysis, the six music transcriptions were edited with a modified interweaving of voices, a range of sound pitches for each musical instrument, and a classification of the rhythmic styles, music structure, and texture. The transcriptions produced resemble typical Western music scores, which are required to convey traditional music characteristics through the imitation of previously listened to audio or video recordings of traditional ensemble performances. An advanced understanding of interpreted transcriptions through artistic analysis may have significant practical benefits for music performers, educators, and learners preparing to perform this genre of music. Additionally, it might provide a future framework for scholarly work on classical ensembles.
{"title":"Recapitulation of Malay asli music genre transcriptions for a chamber trio employing artistic analysis","authors":"Violetta Ayderova","doi":"10.12975/rastmd.20221046","DOIUrl":"https://doi.org/10.12975/rastmd.20221046","url":null,"abstract":"Music transcription (transcribing music into notation form) is one of the most preferred methods of preserving traditional music, which is generally transmitted orally. The purpose of this study is to generate educational material through the collaborative analysis and editing of six music transcriptions of Malay asli music for a trio of flute, viola, and piano. This research stems from questioning whether the six transcriptions sufficiently convey traditional music characteristics and features or whether these characteristics and features need to be imitated from the original sound. The research is practice-led, employing experimental and analytical approaches combined with participants, also assuming the role of researcher and collecting data via self-observation. Following the outcome of recapitulation via artistic analysis, the six music transcriptions were edited with a modified interweaving of voices, a range of sound pitches for each musical instrument, and a classification of the rhythmic styles, music structure, and texture. The transcriptions produced resemble typical Western music scores, which are required to convey traditional music characteristics through the imitation of previously listened to audio or video recordings of traditional ensemble performances. An advanced understanding of interpreted transcriptions through artistic analysis may have significant practical benefits for music performers, educators, and learners preparing to perform this genre of music. Additionally, it might provide a future framework for scholarly work on classical ensembles.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47872970","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 : 2022-12-30DOI: 10.12975/rastmd.20221042
A. Rasi̇mi̇, Armend Xhoni̇
This study investigates the views and practices of teachers on the way of selecting the choral repertoire and the opportunities that this repertoire offers for encouraging musical development of from primary and lower secondary schools students within the framework of general education in Kosovo. In this aspect, the experiences during the practical work of choir teachers and the technical or professional difficulties they encounter during the selection of choral songs have been studied. Among other things, the research aims to identify and analyze these factors, through which it is intended to pave the way for further improvement in this matter. The design of this research was carried out through semi- structured interviews, including the detailed analysis of choral songs, both in terms of musical content and pedagogical aspects. The research was carried out with choir teachers of different schools in Kosovo and satisfactory results were achieved, which highlight the real situation regarding the selection of the repertoire, its quality in terms of musical and textual content and the opportunities it offers to students in encouraging and developing musical talent. The recommendations from this study are addressed to the relevant institutions which should aim to encourage and support the work with choral ensembles and the improvement of practices regarding work with choir within general education.
{"title":"The right choice of choral repertoire - a weakness or good opportunity for encouraging students’ musical talent development","authors":"A. Rasi̇mi̇, Armend Xhoni̇","doi":"10.12975/rastmd.20221042","DOIUrl":"https://doi.org/10.12975/rastmd.20221042","url":null,"abstract":"This study investigates the views and practices of teachers on the way of selecting the choral repertoire and the opportunities that this repertoire offers for encouraging musical development of from primary and lower secondary schools students within the framework of general education in Kosovo. In this aspect, the experiences during the practical work of choir teachers and the technical or professional difficulties they encounter during the selection of choral songs have been studied. Among other things, the research aims to identify and analyze these factors, through which it is intended to pave the way for further improvement in this matter. The design of this research was carried out through semi- structured interviews, including the detailed analysis of choral songs, both in terms of musical content and pedagogical aspects. The research was carried out with choir teachers of different schools in Kosovo and satisfactory results were achieved, which highlight the real situation regarding the selection of the repertoire, its quality in terms of musical and textual content and the opportunities it offers to students in encouraging and developing musical talent. The recommendations from this study are addressed to the relevant institutions which should aim to encourage and support the work with choral ensembles and the improvement of practices regarding work with choir within general education.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49625338","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 : 2022-12-30DOI: 10.12975/rastmd.20221043
Safiye Şeyda Erdaş
Şuğul, Türk Din Musiki’sinde Arapça güfteli ilahilere verilen isimdir. Bu ilahiler, geçmişte Osmanlı kültür havzasının her bölgesinde benimsenmiş ve özellikle 19. yüzyılın sonlarına kadar icrâ edilmiş, bugün Türk Musikisi olarak adlandırılan makam müziği ile bestelenmişlerdir. Şuğul formu daha çok Rifâî, Sâ’dî, Bedevî, Dessûkî gibi Arap kökenli ve kıyâmî zikir yapan tarîkler vasıtası ile Anadolu, İstanbul ve Balkanlara yayılmıştır. Yazılı kaynaklara bakıldığında şuğuller ile ilgili en kapsamlı eser Hicrî 1316 (m. 1898) tarihli Tekfurdağlı eş-Şeyh el-Hâc Hâfız Mehmed Rıfat Efendi tarafından derlenmiş olan Ebhe’n-nagâmât fî terennümâti’l-ilâhiyyât adlı güfte mecmuasıdır. Bu çalışmada Halep, Bâbu’l-Hadîd Keyyâlî Zaviyesi şeyhlerinden Şeyh Muhammed Bâkır el-Keyyâlî, kardeşi Şeyh Hasan el-Keyyâlî ve zaviyenin dervişleri tarafından günümüzde icrâ edilmekte olan şuğuller ile Ebhe’n-nagâmât fî terennümâti’l-ilâhiyyât adlı güfte mecmuasında bulunan bazı ortak eserler üzerinden İstanbul- Halep şehirlerinin ortak müzik geçmişinin izi sürülmüştür.
Shaul是土耳其宗教中阿拉伯神的名字。这些神在奥斯曼文化的古代海洋的每一个地区都是我的，尤其是19个地区。到本世纪末，他们一直在表演，今天，他们被分配到一种叫做土耳其语的当地音乐中。Şuğul formu dahaçok Rifâî、Sâdî、Bedevî，Dessûkîgibi Arap kökenli ve kıyâmîzikir yapan tarîkler vasıtasıile Anadolu，伊斯坦布尔ve Balkanlara yayılmıştır。就书面来源而言，Ebhe'n-nagâmât fîterennümáti'l-ilâhiyyat是诗歌史上最常见的诗人，1316年（1898年），Tekurdağl的前妻Sheikh el-Hâc，Mehmed Rifat大师的成员。在这部作品中，Halep，Sheikh Mohammed Bâkır al-Kiyali，《圣经》中的一件事，他的兄弟Sheikh Hasan el Kiyali和他的妻子在埃本·纳贾梅省的权力领域创作了一系列诗歌，并在伊斯坦布尔哈勒普省创作了一些诗歌作品。
{"title":"Ebha’n-nagamât fî terennümâti’l-ilâhiyyât adlı güfte mecmuasında yer alan ve 2013 yılına kadar Halep Keyyâli zâviyesinde icra edilmiş olan şuğuller","authors":"Safiye Şeyda Erdaş","doi":"10.12975/rastmd.20221043","DOIUrl":"https://doi.org/10.12975/rastmd.20221043","url":null,"abstract":"Şuğul, Türk Din Musiki’sinde Arapça güfteli ilahilere verilen isimdir. Bu ilahiler, geçmişte Osmanlı kültür havzasının her bölgesinde benimsenmiş ve özellikle 19. yüzyılın sonlarına kadar icrâ edilmiş, bugün Türk Musikisi olarak adlandırılan makam müziği ile bestelenmişlerdir. Şuğul formu daha çok Rifâî, Sâ’dî, Bedevî, Dessûkî gibi Arap kökenli ve kıyâmî zikir yapan tarîkler vasıtası ile Anadolu, İstanbul ve Balkanlara yayılmıştır. Yazılı kaynaklara bakıldığında şuğuller ile ilgili en kapsamlı eser Hicrî 1316 (m. 1898) tarihli Tekfurdağlı eş-Şeyh el-Hâc Hâfız Mehmed Rıfat Efendi tarafından derlenmiş olan Ebhe’n-nagâmât fî terennümâti’l-ilâhiyyât adlı güfte mecmuasıdır. Bu çalışmada Halep, Bâbu’l-Hadîd Keyyâlî Zaviyesi şeyhlerinden Şeyh Muhammed Bâkır el-Keyyâlî, kardeşi Şeyh Hasan el-Keyyâlî ve zaviyenin dervişleri tarafından günümüzde icrâ edilmekte olan şuğuller ile Ebhe’n-nagâmât fî terennümâti’l-ilâhiyyât adlı güfte mecmuasında bulunan bazı ortak eserler üzerinden İstanbul- Halep şehirlerinin ortak müzik geçmişinin izi sürülmüştür.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43397006","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 : 2022-12-30DOI: 10.12975/rastmd.20221041
In-Su Lee, Johee Lee
Film has influenced the public as an important cultural form since the 20th century, and film music, as an integral part of film, plays an important role in shaping its content. Film music was influenced by late European Romantic music, and the Hollywood film score system was established based on composers of European descent, followed by the fusion of numerous emerging musical styles, such as Jazz, Rock, and EDM, etc. The orchestral music as the main composition of the film score has a sense of aural expectation in the sound expression, which largely comes from the chromaticization of the harmonies. When analyzing Hollywood film music, it is inevitable that chromatic harmony progression cannot be accurately expressed by traditional tonal music analysis. This study analyzes the chromatic harmony progression of chromatic mediant relationship in the film scores of four composers from the perspective of neo-Riemannian theory. And the correlation between the four sets of transformations and chromatically harmonic progression, H transformation, PL transformation, LP transformation, and RP transformation, is derived from the comparative analysis of neo-Riemannian theory and chromatic mediant relationship. These transformations have deepened the negative emotions of angst and fear or the positive emotions of grandeur and sacredness in film narratives. Exploring and expanding the use of neo-Riemannian theory in film music analysis has positive implications for the development of film music by demonstrating the rationality, accuracy, and intuitiveness of neo-Riemannian theory in the process of film musicology.
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Pub Date : 2022-12-30DOI: 10.12975/rastmd.20221045
Sevilay Gök, Ünsal Yılmaz Yeşildal
Yüzyıllar boyu doğa ile iç içe yaşayan toplumlar, gerek yaşam biçimlerini oluşturan kültürel yapıları gerekse de dinî inançları etrafında bitki ve hayvanlara birtakım anlamlar yüklemişlerdir. Halkın sözlü kültürünün en önemli ögelerinden biri olan türkülerde de hayvan ve bitki sembolleri oldukça yaygın kullanılmıştır. Bu sembollerden biri olan “baykuş”, ölümü ve uğursuzluğu çağrıştırması bakımından binlerce yıl öncesinden günümüze kolektif bilinç aracılığıyla taşınan bir bilgi, algı ve tecrübe aktarımının sonucu olarak literatürdeki yerini almıştır. Bu çalışma, nitel araştırma yöntemlerinden doküman analizi modeli ile desenlenmiştir. Baykuş sembolünün geçtiği, TRT Türk halk müziği repertuvar arşivine kayıtlı 25, kayıtlı olmayan 9, toplamda 34 türkü; yöresi ve bestecisi, makam dizisi, ses genişliği, ölçüsü ve sözlerindeki tema bakımından incelenmiştir. Teması aşk, sevda ve sitem olan bu türkülerin makam dizisi çoğunlukla Hüseyni’dir. Ses genişlikleri en az 4, en fazla 11 olan türkülerin ölçü sayısı 9 farklı şekilde görülmüş, en yaygın 4/4’lük ölçünün kullanıldığı belirlenmiştir.
几个世纪以来，土著社区为动植物增添了一些意义，包括构成他们生活方式的文化结构。Halkın sözlükültürün enönemliögelerinden biri olan türkülerde de haywan ve bitki sembolleri oldukça yaygın kullanılmıştır。这些象征之一发生在文学中，来自数千年前为应对死亡和失败而进行的集体意识、感觉和体验。本研究采用基于形式化研究方法的文献分析模型进行设计。当鸟类符号通过时，TRT土耳其音乐曲目记录在25个档案中，9个未记录，共34种；标尺的旋转和方向，标尺的顺序，声音的宽度，单词的大小和主题。关于爱情、爱情和网站的话题大多是侯赛因。以9种不同的方式观察到了至少4种、最多11种物种的体积，其中使用了最常见的4/4尺寸。
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Pub Date : 2022-09-30DOI: 10.12975/rastmd.20221037
Suat Soner Erenözlü
The music reform, which was realized in the early years of the Republic, has felt its impact in many areas of life from education to everyday life to the present day. The studies effected on this subject are merged in the opinion that the young Republic of Turkey is making these reforms on the axis of “ideology” to an extent that cannot be underestimated. According to critics, the Republic of Turkey has faced to the West due to the “nationalist ideological” policies pursued and has become alienated from its own culture. Towards the principles of the music reform, the Turkish Art Music belonging to the Ottoman was abandoned and the compilation of Turkish folk songs and their arrangement in Western technique constitute the reason for this alienation. However, this alienation manifests itself as a cultural reflection of the Western-elitist ideology. Critics claim that everything that belongs to the music revolution, in terms of its ideological nature, also entails a number of negative consequences. The aim of this study is to make a philosophical analysis of the concept of ideology, to object to the criticisms that base the music reform on ideological foundations, and to suggest that the music reform consists of idealistic principles, not ideological ones. Therefore, in opposition to the view that the music reforms of the Republic are alienated from their own culture in terms of being “ideological”, the claim has been put forward that they are based on their own self-culture in terms of being “idealistic”.
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Pub Date : 2022-09-30DOI: 10.12975/rastmd.20221031
G. Mammadova
The aim of this article is to examine the cultural and musical aspects of the wedding ceremonies of the Nakhchivan region, which is one of the important elements of Azerbaijani folklore. The research model was designed in accordance with the case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has a rich content in terms of folkloric features and is protected folklorically. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were examined musically. The problem of the research is stated below. What are the musical features of the wedding rituals of Nakhchivan Region, which is one of the folkloric elements of Azerbaijan, and the works performed at weddings? The research model was designed in accordance with case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has rich content in terms of folkloric features and is protected. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were analyzed musically. Sibelius notation program was used in the notation of the works. The researcher conducted interviews with the elderly living in the Nakhchivan region. Transcriptions of the interviews were made and the findings were presented. In Nakhchivan region weddings; There are stages of liking a girl, interrupting, embassy, engagement, holiday, girl’s wedding, henna night, men’s wedding, veil ceremony, hand kissing. Yallı Dance is an important musical symbol of the region. This dance is performed collectively, its variety and dance melodies are unique. Other games played at weddings; Kocheri, Tanzara, Tello, Gala-to-galaya, Urfanı have survived to the present day with cultural transfer. In the research, the musical notes of the folk songs Hakışta, Gülüm Hey, Henna Night and Bride’s Farewell were presented. mong the wedding ceremonies in the Nakhchivan region, the most important stages are the Engagement ceremony and the Hınayahdi ceremony. These are the most important parts of wedding preparation.Depending on the stages of the wedding ceremonies, the content and melody of the songs are different. Although the music sung at the initial stage is distinguished by its simplicity, the melodies gradually become complex. The richest examples of music can be found in the “Hınayahdı” ceremony.
本文的目的是考察纳希切万地区婚礼的文化和音乐方面，这是阿塞拜疆民间传说的重要元素之一。研究模型是根据定性研究方法中的案例研究和文献分析技术设计的。之所以在研究中选择纳希切万地区，是因为该地区具有丰富的民俗特色，并受到民俗保护。研究采用相关文献和访谈方法作为数据收集工具。在研究中，纳希切万婚礼仪式的元素是根据相关资料和采访呈现的。在婚礼仪式的元素中表演的作品在音乐上得到了检验。研究的问题如下所述。纳希切万地区的婚礼仪式是阿塞拜疆的民俗元素之一，婚礼上表演的作品有什么音乐特色？该研究模型是根据定性研究方法中的案例研究和文献分析技术设计的。之所以在研究中选择纳希切万地区，是因为该地区具有丰富的民俗特色，并受到保护。研究采用相关文献和访谈方法作为数据收集工具。在研究中，纳希切万婚礼仪式的元素是根据相关资料和采访呈现的。对婚礼仪式元素中的作品进行了音乐分析。西贝柳斯的记谱程序被用于作品的记谱。研究人员对居住在纳希切万地区的老年人进行了采访。制作了访谈记录，并介绍了调查结果。在纳希切万地区举行婚礼；有喜欢一个女孩的阶段，打断，大使馆，订婚，度假，女孩的婚礼，指甲花之夜，男人的婚礼，面纱仪式，接吻。雅尔舞是该地区重要的音乐象征。这种舞蹈是集体表演的，其多样性和舞蹈旋律都是独一无二的。婚礼上玩的其他游戏；Kocheri、Tanzara、Tello、Gala to galaya、Urfanı在文化转移中幸存至今。在研究中，呈现了民歌《Hakışta》、《Gülüm Hey》、《Henna Night》和《新娘的告别》的音符。在纳希切万地区的婚礼中，最重要的阶段是订婚仪式和Hınayahdi仪式。这些是婚礼准备中最重要的部分。根据婚礼的不同阶段，歌曲的内容和旋律也有所不同。尽管初期演唱的音乐以简单著称，但旋律逐渐变得复杂。音乐最丰富的例子可以在“Hınayahdı”仪式中找到。
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