Pub Date : 2022-09-27DOI: 10.12975/rastmd.20221036
Teuta Agaj Avdiu, Shqipe Mori̇na, Arta TİKA BEKTESHİ
The English-speaking market is huge. English dominates the international music. The two most powerful countries in the world, the USA and the UK are the bases of the music industry. There is over one billion people who speak English worldwide. It is no surprise that the English language is used as a base for music by so many musicians. This work’s main objective is to find out the Albanian musicians’ English language proficiency level as well as gain knowledge about the importance of being an English-speaking musician. The present study delves further into examining the internationalization of Albanian songs from the viewpoints of musicians in Kosovo and investigating whether the Albanian songs would have a different impact or would be more successful if translated and sung into the English language. Last but not least, the researchers are also interested in discovering if there is any difference between Albanian and English languages in terms of songs and singing. To go deep into the understanding and the perception of the issue and answer our research questions, a descriptive qualitative approach was used. To collect the data, semi-structured interviews with open-ended questions were conducted. Ten (10) Kosovar musicians who have a lot of knowledge on the issues participated in this study and thus provided us the necessary information. The results of this research correspond with the theoretical framework. The results obtained from the data analysis reveal that Kosovar musicians are proficient in English which is considered very advantageous since performing in English can help musicians build an international music career. It is also indicated that an Albanian song can also be an international success without the need to translate it into English since music is a universal language, musical notes sound the same in all languages around the world, they are written the same, they have the same position. Thus, the melody sounds the same in every language of the world and this is the beauty of music.
{"title":"Kosovo musicians' efficacy of using English language: Internationalization of Albanian songs","authors":"Teuta Agaj Avdiu, Shqipe Mori̇na, Arta TİKA BEKTESHİ","doi":"10.12975/rastmd.20221036","DOIUrl":"https://doi.org/10.12975/rastmd.20221036","url":null,"abstract":"The English-speaking market is huge. English dominates the international music. The two most powerful countries in the world, the USA and the UK are the bases of the music industry. There is over one billion people who speak English worldwide. It is no surprise that the English language is used as a base for music by so many musicians. This work’s main objective is to find out the Albanian musicians’ English language proficiency level as well as gain knowledge about the importance of being an English-speaking musician. The present study delves further into examining the internationalization of Albanian songs from the viewpoints of musicians in Kosovo and investigating whether the Albanian songs would have a different impact or would be more successful if translated and sung into the English language. Last but not least, the researchers are also interested in discovering if there is any difference between Albanian and English languages in terms of songs and singing. To go deep into the understanding and the perception of the issue and answer our research questions, a descriptive qualitative approach was used. To collect the data, semi-structured interviews with open-ended questions were conducted. Ten (10) Kosovar musicians who have a lot of knowledge on the issues participated in this study and thus provided us the necessary information. The results of this research correspond with the theoretical framework. The results obtained from the data analysis reveal that Kosovar musicians are proficient in English which is considered very advantageous since performing in English can help musicians build an international music career. It is also indicated that an Albanian song can also be an international success without the need to translate it into English since music is a universal language, musical notes sound the same in all languages around the world, they are written the same, they have the same position. Thus, the melody sounds the same in every language of the world and this is the beauty of music.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47651729","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 : 2022-09-13DOI: 10.12975/rastmd.20221035
Sevgünur TANDOĞDU KILIÇ
The 20th century is known as a period in which the understanding of music changes and develops, and at the same time it seeks different ways. In many musical genres such as classical music, jazz and blues, this search has led to different technical trials and studies on instruments. The changing and developing understanding of music with the development of globalization and technology has led to the emergence of many new works, and composers have developed and tried different and extraordinary methods as well as popular techniques to make a difference in their works. It can be advantageous for practitioners and educators seeking careers in the trombone field to have in-depth knowledge of modern solo trombone work. Other classical instruments, the repertoire spans the centuries and can be found in almost every musical period. However, the fact that the trombone was added to the orchestra after the other instruments and was not seen as a solo instrument until recently increases the interest in the works written after the 20th century. While the trombone repertoire had few solo works until the twentieth century, its use as a solo instrument has increased since the 20th century and many works have been written by composers. In the second half of the twentieth century, there was a change of direction in the trombone repertoire and performance practices, as will be explained in the following sections. With the development of technology, composers who pushed the limits of the trombone increased and new possibilities emerged that could be applied on the instrument. In the article, an analysis will be presented on the works written in the second half of the 20th century under the titles of trombone and voice, multiphonic and microtones, trombone and electronics.
{"title":"An analysis on the use and performance of contemporary avant-garde trombone techniques","authors":"Sevgünur TANDOĞDU KILIÇ","doi":"10.12975/rastmd.20221035","DOIUrl":"https://doi.org/10.12975/rastmd.20221035","url":null,"abstract":"The 20th century is known as a period in which the understanding of music changes and develops, and at the same time it seeks different ways. In many musical genres such as classical music, jazz and blues, this search has led to different technical trials and studies on instruments. The changing and developing understanding of music with the development of globalization and technology has led to the emergence of many new works, and composers have developed and tried different and extraordinary methods as well as popular techniques to make a difference in their works. It can be advantageous for practitioners and educators seeking careers in the trombone field to have in-depth knowledge of modern solo trombone work. Other classical instruments, the repertoire spans the centuries and can be found in almost every musical period. However, the fact that the trombone was added to the orchestra after the other instruments and was not seen as a solo instrument until recently increases the interest in the works written after the 20th century. While the trombone repertoire had few solo works until the twentieth century, its use as a solo instrument has increased since the 20th century and many works have been written by composers. In the second half of the twentieth century, there was a change of direction in the trombone repertoire and performance practices, as will be explained in the following sections. With the development of technology, composers who pushed the limits of the trombone increased and new possibilities emerged that could be applied on the instrument. In the article, an analysis will be presented on the works written in the second half of the 20th century under the titles of trombone and voice, multiphonic and microtones, trombone and electronics.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44213395","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 : 2022-09-13DOI: 10.12975/rastmd.20221032
Ardita Devolli, Shqipe Avdiu-Kryeziu
The main principle of the Kosovo Curriculum is inclusiveness which means providing equal opportunities for all children and young people in quality education without discrimination. (MASHT (b), 2016) The purpose of this research is to present the role that the subject Music Education has in the inclusion of students with special needs in primary schools. The main research question is: What is the role of the subject Music Education in the inclusion of students with special needs in primary schools? Our research has been conducted by studying various literature related to this issue as well as the practical aspect through a semi-structured interview with primary school teachers who teach children with special educational needs. The qualitative research method was used and data were collected through a semi-structured interview for primary school teachers, grades I-V. According to the results of this research, it can be said that the subject of Music Education plays an important role in the inclusion of students with special educational needs based on the curriculum which includes the integration of different fields and subjects in primary education.
{"title":"Music as an inclusion tool: can primary school teachers use it effectively?","authors":"Ardita Devolli, Shqipe Avdiu-Kryeziu","doi":"10.12975/rastmd.20221032","DOIUrl":"https://doi.org/10.12975/rastmd.20221032","url":null,"abstract":"The main principle of the Kosovo Curriculum is inclusiveness which means providing equal opportunities for all children and young people in quality education without discrimination. (MASHT (b), 2016) \u0000The purpose of this research is to present the role that the subject Music Education has in the inclusion of students with special needs in primary schools. \u0000The main research question is: What is the role of the subject Music Education in the inclusion of students with special needs in primary schools? \u0000Our research has been conducted by studying various literature related to this issue as well as the practical aspect through a semi-structured interview with primary school teachers who teach children with special educational needs. \u0000 The qualitative research method was used and data were collected through a semi-structured interview for primary school teachers, grades I-V. \u0000According to the results of this research, it can be said that the subject of Music Education plays an important role in the inclusion of students with special educational needs based on the curriculum which includes the integration of different fields and subjects in primary education.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47346031","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 : 2022-09-13DOI: 10.12975/rastmd.20221034
Nona Ni̇kabadze, Lile Tandilava, Maia Baramidze
Shota Rustaveli's poem "The Knight in the Panther's Skin" is an epic poem containing medieval lyrical passages. The poem is distinguished by a variety of musical instruments. Our article deals with the issue of translating the most commonly used musical instruments in the Turkish translation of "The Knight in the Panther's Skin ". Using empirical material, source and target texts have been compared to understand how adequately the musical instruments are translated in the Turkish translation of "The Knight in the Panther's Skin " performed by Bilal Dindar. Our goal is to investigate the principle of selection of equivalents and evaluate its adequacy. In this article, we will discuss the most commonly used musical instruments, which can be grouped as follows: String instruments - Chang, Eban, Barbuti, Chaghana; Wind instruments -Buki and Na; Percussion musical instrument -Tsintsilani; Drums - Noba and Nobati, Kosi, Tablaki. In many cases, these musical instruments have the corresponding words in the Turkish language, however, the translator does not translate them into the target language. Based on the comparison of the texts, we will empirically determine the proximity of the source text and the translation text. The methodological basis of the study is a corpus-linguistic analysis of the original text and the translation of "The Knight in the Panther's Skin". In the process of work, the corpus-linguistic method is used, which is common in modern humanitarian studies. Using this method allows us to quickly and efficiently process large volumes of empirical material.
{"title":"Şota Rustaveli’nin “Kaplan Postlu Şövalye” Destanın Türkçe Çevirisinde Müzik Çalgıları","authors":"Nona Ni̇kabadze, Lile Tandilava, Maia Baramidze","doi":"10.12975/rastmd.20221034","DOIUrl":"https://doi.org/10.12975/rastmd.20221034","url":null,"abstract":"Shota Rustaveli's poem \"The Knight in the Panther's Skin\" is an epic poem containing medieval lyrical passages. The poem is distinguished by a variety of musical instruments. Our article deals with the issue of translating the most commonly used musical instruments in the Turkish translation of \"The Knight in the Panther's Skin \". Using empirical material, source and target texts have been compared to understand how adequately the musical instruments are translated in the Turkish translation of \"The Knight in the Panther's Skin \" performed by Bilal Dindar. \u0000 Our goal is to investigate the principle of selection of equivalents and evaluate its adequacy. In this article, we will discuss the most commonly used musical instruments, which can be grouped as follows: String instruments - Chang, Eban, Barbuti, Chaghana; Wind instruments -Buki and Na; Percussion musical instrument -Tsintsilani; Drums - Noba and Nobati, Kosi, Tablaki. In many cases, these musical instruments have the corresponding words in the Turkish language, however, the translator does not translate them into the target language. Based on the comparison of the texts, we will empirically determine the proximity of the source text and the translation text. \u0000 The methodological basis of the study is a corpus-linguistic analysis of the original text and the translation of \"The Knight in the Panther's Skin\". In the process of work, the corpus-linguistic method is used, which is common in modern humanitarian studies. Using this method allows us to quickly and efficiently process large volumes of empirical material.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41984444","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 : 2022-09-13DOI: 10.12975/rastmd.20221033
Kaya Kiliç
Although music is a branch of art, it is scientifically researchable. As a result of these researches, the equipment of the B flat clarinets used in classical music has developed and changed for years with the advancement of technology. B flat clarinet players, which is a wind instrument, are in different quests to find the best way to express themselves musically. For years, they try to find the most beautiful timbre by trying different equipment to make the tone and tone of the instrument sound good to them first and then to the listeners. In order to achieve these timbres, instrument luthiers and various music companies have gone to different product development paths for each equipment. One of the most important points to remember is that everyone's mouth and lip, in short, have different anatomical structures. Developed or newly made equipment shows different results for everyone. For this reason, performers want to try B flat clarinet equipment and choose the equipment that suits them. In the article, mouthpieces, ligatures, reeds and barrels will be discussed as equipment used in the B flat Clarinet, and detailed information will be presented about the differences in usage areas by grouping them according to model, brand and features.
{"title":"Investigation of B Flat Clarinet Equipment Used in Classical Western Music and Differences in Usage Areas","authors":"Kaya Kiliç","doi":"10.12975/rastmd.20221033","DOIUrl":"https://doi.org/10.12975/rastmd.20221033","url":null,"abstract":"Although music is a branch of art, it is scientifically researchable. As a result of these researches, the equipment of the B flat clarinets used in classical music has developed and changed for years with the advancement of technology. B flat clarinet players, which is a wind instrument, are in different quests to find the best way to express themselves musically. For years, they try to find the most beautiful timbre by trying different equipment to make the tone and tone of the instrument sound good to them first and then to the listeners. In order to achieve these timbres, instrument luthiers and various music companies have gone to different product development paths for each equipment. One of the most important points to remember is that everyone's mouth and lip, in short, have different anatomical structures. Developed or newly made equipment shows different results for everyone. For this reason, performers want to try B flat clarinet equipment and choose the equipment that suits them. In the article, mouthpieces, ligatures, reeds and barrels will be discussed as equipment used in the B flat Clarinet, and detailed information will be presented about the differences in usage areas by grouping them according to model, brand and features.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44116834","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 : 2022-06-30DOI: 10.12975/rastmd.20221028
M. Avdyli, Veli Kryeziu
Albanian culture coexisted for a period of over 500 years with Ottoman culture, at the turn of the new century, along with the Balkan troubles that led to the continued embrace of the transition from an old culture to the ideology of the Young Turk movement, and the continuation of joint Albanian-Turkish actions, in order to protect the Albanian Vilayets from the Serbo-Montenegrin occupiers. Early nineteenth-century Turkey emerged from bloody wars on all sides of its borders and from a weak government led by Abdul Hamid II faced a new war in 1915 now in defense of the Dardanelles in the bloodiest battle "The Battle of Canakkale". The First World War found Albanians divided and occupied in some of its territories, however, from 1912 Albania had declared Independence, but Kosovo, Skopje and Bitola, Ulcinj and Bar had remained outside the borders, while Chameria - the South of Albania had been invaded by Greece. During the First World War a large number of Albanians remained in the Turkish military service, many others joined the Turkish army, mainly Albanians who had migrated to Turkey from the violence of the Serbo-Montenegrin invaders, as well as some more from Kosovo, Skopje, Tetovo, Presevo, Shkodra, Ulcinj, etc who volunteered to help the Turkish army. According to history, oral literature and written documents, many Albanians died heroically, it is said that about 25,000 martyrs had died in this battle. In their honor, the Albanian people composed songs, it is worth mentioning the "song dedicated to the Battle of Canakkale" by the most prominent folklorists of the Albanian nation. Our research was done through a semi-structured interview with: 5 teachers of Albanian literature (at the same time master’s students at the University "Kadri Zeka" in Gjilan, Kosovo); 5 history teachers (at the same time master’s students at the University of Prishtina “Hasan Prishtina”, Prishtina, Kosovo); 2 independent researchers from the Institute of History "Ali Hadri" Prishtina, Kosovo.
{"title":"Folk Songs about Canakkale in Albanian History and Literature","authors":"M. Avdyli, Veli Kryeziu","doi":"10.12975/rastmd.20221028","DOIUrl":"https://doi.org/10.12975/rastmd.20221028","url":null,"abstract":"Albanian culture coexisted for a period of over 500 years with Ottoman culture, at the turn of the new century, along with the Balkan troubles that led to the continued embrace of the transition from an old culture to the ideology of the Young Turk movement, and the continuation of joint Albanian-Turkish actions, in order to protect the Albanian Vilayets from the Serbo-Montenegrin occupiers. Early nineteenth-century Turkey emerged from bloody wars on all sides of its borders and from a weak government led by Abdul Hamid II faced a new war in 1915 now in defense of the Dardanelles in the bloodiest battle \"The Battle of Canakkale\".\u0000The First World War found Albanians divided and occupied in some of its territories, however, from 1912 Albania had declared Independence, but Kosovo, Skopje and Bitola, Ulcinj and Bar had remained outside the borders, while Chameria - the South of Albania had been invaded by Greece. During the First World War a large number of Albanians remained in the Turkish military service, many others joined the Turkish army, mainly Albanians who had migrated to Turkey from the violence of the Serbo-Montenegrin invaders, as well as some more from Kosovo, Skopje, Tetovo, Presevo, Shkodra, Ulcinj, etc who volunteered to help the Turkish army. According to history, oral literature and written documents, many Albanians died heroically, it is said that about 25,000 martyrs had died in this battle. In their honor, the Albanian people composed songs, it is worth mentioning the \"song dedicated to the Battle of Canakkale\" by the most prominent folklorists of the Albanian nation. \u0000Our research was done through a semi-structured interview with: 5 teachers of Albanian literature (at the same time master’s students at the University \"Kadri Zeka\" in Gjilan, Kosovo); 5 history teachers (at the same time master’s students at the University of Prishtina “Hasan Prishtina”, Prishtina, Kosovo); 2 independent researchers from the Institute of History \"Ali Hadri\" Prishtina, Kosovo.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44569399","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 : 2022-06-30DOI: 10.12975/rastmd.20221029
Özcan Çeti̇k
Cemil Bey, who has an important place in the history of Turkish Music with his tanbûr performance, became a school with his performances on instruments such as Classical Kemençe, Stringed Tanbûr, Cello and Lavta next to the Tanbûr, and is an important performer who has created unique pieces of Turkish Music, especially under the title of instrumental music. Another instrument that Cemil Bey performed masterfully after the tanbûr is the kemençe. Especially influenced by Kemençeci Vasilâki, Cemil Bey, who started to play this instrument, also performed the string nags with plucked plectrums on the tanbûr, as well. The oldest sound recordings of the kemençe in Turkish Music belong to Cemil Bey. However, Cemil Bey, who used the cello for the first time in our music, made a great contribution to the entry of this instrument into the Turkish Music executive committees by drawing attention with his performances on the cello. The cello is used in Turkish Music to provide bass fullness. Today, Cello is widely used in Turkish Music executive committees. Cemil Bey is the one who made the biggest contribution to the formation of this situation. As in the kemençe, the oldest sound recordings for the cello belong to Cemil Bey. Cemil Bey took care to stay in the style of Turkish Music in his performances and displayed an original attitude. Performance analysis in Turkish Music has been the subject of many studies. By analyzing the sound recordings of Master Performers, the maqam structure and richness of our Music can be grasped more deeply. In this study, the kemençe and cello taksims in Cemil Bey's Bestenigâr Maqam were dictated and compared technically and melodically. Thus, the similarities and differences between Cemil Bey's two performances have been tried to be embodied by analysis.
{"title":"A comparative analysis of Cemil Bey's kemençe and cello taksims in the bestenigâr maqam","authors":"Özcan Çeti̇k","doi":"10.12975/rastmd.20221029","DOIUrl":"https://doi.org/10.12975/rastmd.20221029","url":null,"abstract":"Cemil Bey, who has an important place in the history of Turkish Music with his tanbûr performance, became a school with his performances on instruments such as Classical Kemençe, Stringed Tanbûr, Cello and Lavta next to the Tanbûr, and is an important performer who has created unique pieces of Turkish Music, especially under the title of instrumental music. Another instrument that Cemil Bey performed masterfully after the tanbûr is the kemençe. Especially influenced by Kemençeci Vasilâki, Cemil Bey, who started to play this instrument, also performed the string nags with plucked plectrums on the tanbûr, as well. The oldest sound recordings of the kemençe in Turkish Music belong to Cemil Bey. However, Cemil Bey, who used the cello for the first time in our music, made a great contribution to the entry of this instrument into the Turkish Music executive committees by drawing attention with his performances on the cello. The cello is used in Turkish Music to provide bass fullness. Today, Cello is widely used in Turkish Music executive committees. Cemil Bey is the one who made the biggest contribution to the formation of this situation. As in the kemençe, the oldest sound recordings for the cello belong to Cemil Bey. Cemil Bey took care to stay in the style of Turkish Music in his performances and displayed an original attitude. Performance analysis in Turkish Music has been the subject of many studies. By analyzing the sound recordings of Master Performers, the maqam structure and richness of our Music can be grasped more deeply. In this study, the kemençe and cello taksims in Cemil Bey's Bestenigâr Maqam were dictated and compared technically and melodically. Thus, the similarities and differences between Cemil Bey's two performances have been tried to be embodied by analysis.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47518557","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 : 2022-06-28DOI: 10.12975/rastmd.20221027
Aslan Mustafazade
The article presents that the features of the research conducted by the prominent musicologist, People's Artist of the Republic of Azerbaijan, Doctor of Arts, Professor Ramiz Zohrabov on "Azerbaijani rengleri" [“reng” is a specific genre of Azerbaijani oral traditional professional music. “rengler” is a plural form of the word “reng”] play a significant role for the study of oral traditional professional music. From this point of view, it should be noted that Professor Ramiz Zohrabov, through comprehensive studying various genres of folk music, especially the ones related to professional music of oral tradition, made detailed comments and sound judgments in this area. Ramiz Zohrabov's book "Azerbaijan rengleri" is also devoted to the research of rengs, one of the main genres of oral traditional Azerbaijani professional music. The article is primarily focused on the study of genre, maqam and melodic features of Azerbaijani rengs examined by R.Zohrabov. Generally, the article emphasizes R.Zohrabov's characterization of rengs, which are one of the main genres of oral traditional Azerbaijani professional music, and his scientific-theoretical study of their features as one of the main directions of national musicology. It should be noted that the main principles of the study of Azerbaijani rengs talked about in the article are essential for the study of folk art. It can be considered that the principles having been put forward by R. Zohrabov are commendable in the study of mugham destgahs, as well as many genres, including rengs. In addition, the study of rengs can also considerably contribute to the study of the structural features of the bells and earnings, which are the other major genres of oral music. From this point of view, it seems more logical to substantiate the basis of rengs and melodic features in a scientific and theoretical way. Nowadays the study of national music being based on theoretical analysis creates the basis for the formation of data on the study of folk art. Thus, the methods and methodological approaches used by R.Zohrabov determine the direction of modern scientific viewpoints in the field of folk art. Based on these features, it should be stressed that R.Zohrabov's book "Azerbaijan rengleri" plays an important role in the study of national musicology at the modern stage. Hence the analysis of "Rast deramedi" based on the principles having been put forward by R.Zohrabov is especially noteworthy from a theoretical point of view. Proceeding from complex approaches in the process of rengs analysis, it is noted that the analysis process in the article is based on R. Zohrabov's methodology in terms of moment, melodic features, musical form and other aspects. It is worth to point out that the principles of the various musicologists who conducted researches on national music had been taken into account throughout comparative and analytical process of all research. The article pays special attention to the theoretical analysis o
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Pub Date : 2022-06-28DOI: 10.12975/rastmd.20221026
N. Ismaili, Nerxhivane Krasniqi
Albanian folklore is very rich in genres and different types of folklore. Among them a special place is occupied by the creations of the Albanian oral epic. In this paper we will treat the songs of songs of mountaineers or, as they are popularly known as highland songs. They are folk creations with a spread not in all Albanian territories. They are mostly practiced in the northern folklore areas and have their own independence, conditioned or determined by the specifics of the way of practice. During our work we can summarize the main features and characteristics of mountainers or highland songs. In addition to the treatments and arguments of the theoretical plan, a number of concrete analyzes will be realized and argumented on our conclusion. We believe that in this way, not as an aim in itself, the spaces of this special type of Albanian folklore will become clearer, more complete and in a more general plan. To reach such a definition, we start from the fact that the poetics of these songs is quite distinct and special, in relation to all other types of Albanian historical songs in general. Among other things, for this type of song we would distinguish the way of singing, which is completely different and unrepeatable in general in all other types of historical songs, poetic structure, shortness of poetry or with so many reduced verses, but also with the lack of pronunciation, and therefore of understanding in many cases of the poetic text.
{"title":"An ethnomusical analysis: Albanian highland songs","authors":"N. Ismaili, Nerxhivane Krasniqi","doi":"10.12975/rastmd.20221026","DOIUrl":"https://doi.org/10.12975/rastmd.20221026","url":null,"abstract":"Albanian folklore is very rich in genres and different types of folklore. Among them a special place is occupied by the creations of the Albanian oral epic. In this paper we will treat the songs of songs of mountaineers or, as they are popularly known as highland songs. They are folk creations with a spread not in all Albanian territories. They are mostly practiced in the northern folklore areas and have their own independence, conditioned or determined by the specifics of the way of practice. During our work we can summarize the main features and characteristics of mountainers or highland songs. In addition to the treatments and arguments of the theoretical plan, a number of concrete analyzes will be realized and argumented on our conclusion. We believe that in this way, not as an aim in itself, the spaces of this special type of Albanian folklore will become clearer, more complete and in a more general plan. To reach such a definition, we start from the fact that the poetics of these songs is quite distinct and special, in relation to all other types of Albanian historical songs in general. Among other things, for this type of song we would distinguish the way of singing, which is completely different and unrepeatable in general in all other types of historical songs, poetic structure, shortness of poetry or with so many reduced verses, but also with the lack of pronunciation, and therefore of understanding in many cases of the poetic text.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45198592","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 : 2022-06-23DOI: 10.12975/rastmd.20221024
Johee Lee, In-Su Lee
This study aims to present the image and thoughts about K-POP among the public through objective data as we realized that it is necessary to conduct a systematic analysis of the public mentality and attitude toward K-POP to sustain the movement of Hallyu or Korean Wave. To this end, we used the big data in 2014 and 2021 to compare and analyze the K-POP-related images, figures, and public attitude between the two time points. The result can be summarized as follows: First, between 2014 and 2021, the changes over time in the media, where K-POP can be accessed by the audience, are more pronounced than common images about K-POP; Second, the figures that appeared consistently and commonly in 2014 and 2021 were found to be EXO and BTS, popular South Korean boy-bands. In the case of EXO, there was no commonly related figure at both points of time, but as for BTS, it was found that their fan club, A.R.M.Y, appeared as a common related figure; Third, compared to 2014, the rate of positive response toward K-POP decreased while negative response increased in 2021; in other words, the attitude toward K-POP turned negative. Unlike the previous studies that collect data with questionnaires or materials and analyze them, we used the already stored data and Sometrend, Korea’s big data analysis software, provided by VAIV Company, to find out what people think about K-POP. This study is significant as it extracts information from the existing data, analyzes the contents, and reinterprets the results from various angles to derive meaningful results. It is expected that the findings of this study, presented through precise data—the K-POP-related images, figures, and public attitude—will be used as basic material to contribute to the sustaining of the K-POP wave.
{"title":"A Big Data Analysis of K-POP on Social Media: focused on Images, Figures, and Public Attitude","authors":"Johee Lee, In-Su Lee","doi":"10.12975/rastmd.20221024","DOIUrl":"https://doi.org/10.12975/rastmd.20221024","url":null,"abstract":"This study aims to present the image and thoughts about K-POP among the public through objective data as we realized that it is necessary to conduct a systematic analysis of the public mentality and attitude toward K-POP to sustain the movement of Hallyu or Korean Wave. To this end, we used the big data in 2014 and 2021 to compare and analyze the K-POP-related images, figures, and public attitude between the two time points. The result can be summarized as follows: First, between 2014 and 2021, the changes over time in the media, where K-POP can be accessed by the audience, are more pronounced than common images about K-POP; Second, the figures that appeared consistently and commonly in 2014 and 2021 were found to be EXO and BTS, popular South Korean boy-bands. In the case of EXO, there was no commonly related figure at both points of time, but as for BTS, it was found that their fan club, A.R.M.Y, appeared as a common related figure; Third, compared to 2014, the rate of positive response toward K-POP decreased while negative response increased in 2021; in other words, the attitude toward K-POP turned negative. Unlike the previous studies that collect data with questionnaires or materials and analyze them, we used the already stored data and Sometrend, Korea’s big data analysis software, provided by VAIV Company, to find out what people think about K-POP. This study is significant as it extracts information from the existing data, analyzes the contents, and reinterprets the results from various angles to derive meaningful results. It is expected that the findings of this study, presented through precise data—the K-POP-related images, figures, and public attitude—will be used as basic material to contribute to the sustaining of the K-POP wave.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49522112","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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