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
{"title":"A look at the theoretical analysis of \"Azerbaijan rengleri\" and \"Rast deramedi\" in the works of Ramiz Zohrabov","authors":"Aslan Mustafazade","doi":"10.12975/rastmd.20221027","DOIUrl":"https://doi.org/10.12975/rastmd.20221027","url":null,"abstract":"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. \u0000Generally, 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. \u0000It 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. \u0000The article pays special attention to the theoretical analysis o","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":"48232372","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.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}
Pub Date : 2022-06-23DOI: 10.12975/rastmd.20221025
Nuride İsmayi̇lzade
The article reveals the role of Uzeyir Hajibeyli (U.Hajibeyov in the Soviet period) in the formation and development of Azerbaijani classical music. The period of formation and development of the composer's creativity in Azerbaijan is associated with the name of the composer. In the context of the presence of the traditions of Russian classics in the opera works of Azerbaijani composers, for the first time in local musicology, a comparative analysis of the first Azerbaijani classical opera Koroglu by U.Hajibeyli and the first Russian classical opera “Ivan Susanin” by M. Glinka has been conducted. The main differences in the language of music, the tonal basis, the folklore material used, the author's research have shown the existence of common features of these two monumental works. The common features in the operas are manifested in the vivid expression of the will of the people, the heroism of the heroes and the intransigence against the oppressors, reflecting the national tonal structure of both peoples in the struggle and the general heroic character of the operas. The article also includes the history of creation of operas based on European classical opera traditions. In this research work, the common and different aspects of “Köroğlu” and “Ivan Susanin” operas are analyzed in terms of staging in certain time periods. The author also states the importance of Koroglu's hero image for Turkish peoples and as a result of this, the creation of the same name opera by the famous Turkish classical composer Ahmet Adnan Saygun in 1973. In addition, in the article, the author draws attention to the role and importance of the famous Azerbaijani composer and conductor Niyazi in this topic, based on historical data on the staging of A. Saygun's "Köroğlu" opera.
{"title":"The comparative analysis of similarities and differences of U. Hajibeyli’s \"Koroglu\" and M. Glinka’s \"Ivan Susanin\" operas","authors":"Nuride İsmayi̇lzade","doi":"10.12975/rastmd.20221025","DOIUrl":"https://doi.org/10.12975/rastmd.20221025","url":null,"abstract":"The article reveals the role of Uzeyir Hajibeyli (U.Hajibeyov in the Soviet period) in the formation and development of Azerbaijani classical music. The period of formation and development of the composer's creativity in Azerbaijan is associated with the name of the composer. In the context of the presence of the traditions of Russian classics in the opera works of Azerbaijani composers, for the first time in local musicology, a comparative analysis of the first Azerbaijani classical opera Koroglu by U.Hajibeyli and the first Russian classical opera “Ivan Susanin” by M. Glinka has been conducted. The main differences in the language of music, the tonal basis, the folklore material used, the author's research have shown the existence of common features of these two monumental works. The common features in the operas are manifested in the vivid expression of the will of the people, the heroism of the heroes and the intransigence against the oppressors, reflecting the national tonal structure of both peoples in the struggle and the general heroic character of the operas. The article also includes the history of creation of operas based on European classical opera traditions. In this research work, the common and different aspects of “Köroğlu” and “Ivan Susanin” operas are analyzed in terms of staging in certain time periods. The author also states the importance of Koroglu's hero image for Turkish peoples and as a result of this, the creation of the same name opera by the famous Turkish classical composer Ahmet Adnan Saygun in 1973. In addition, in the article, the author draws attention to the role and importance of the famous Azerbaijani composer and conductor Niyazi in this topic, based on historical data on the staging of A. Saygun's \"Köroğlu\" opera.","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":"45248356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-08DOI: 10.12975/rastmd.20221022
Kim Jinho
A poetics of music is a consciously created theory about how music can be composed. An ideally strong deterministic composition generates multiple musical elements rigidly and automatically under the premises set by a strong poetic determinist. A weakly deterministic composition, as created by the weak poetic determinist, generates small elements somewhat automatically and logically. In contrast, poetic libertarians compose music without planning and as their fancy dictates. We use these definitions to classify certain French spectral and concrete composers and their pieces as either strongly deterministic, weakly deterministic, or free. We surveyed Koreans to establish whether they heard these genres and composers as such. We also asked about their psycho-social backgrounds. We identified ① a positive correlation between perceiving musical determinism/libertarianism and understanding determinism/libertarianism; ② associative/implicit perception of determinism/libertarianism by many respondents; ③ generally low musical theory of mind (MTOM); ④ women’s relatively high MTOM; ⑤ few associations among the participants between virtual causality and concrete pieces; in addition, ⑥ libertarians outnumbered determinists; ⑦ determinists were a minority who had cognitive ability and musicality; ⑧ determinists could evaluate the deterministic spectral pieces and libertarians the free concrete pieces; and ⑨ there was a positive correlation between the respondents’ perceptual/cognitive abilities and their social achievements.
{"title":"1970'ten bu yana Fransız spektral müziğinin ve somut müziğin determinizmini algılamanın Kore yolu","authors":"Kim Jinho","doi":"10.12975/rastmd.20221022","DOIUrl":"https://doi.org/10.12975/rastmd.20221022","url":null,"abstract":"A poetics of music is a consciously created theory about how music can be composed. An ideally strong deterministic composition generates multiple musical elements rigidly and automatically under the premises set by a strong poetic determinist. A weakly deterministic composition, as created by the weak poetic determinist, generates small elements somewhat automatically and logically. In contrast, poetic libertarians compose music without planning and as their fancy dictates. We use these definitions to classify certain French spectral and concrete composers and their pieces as either strongly deterministic, weakly deterministic, or free. We surveyed Koreans to establish whether they heard these genres and composers as such. We also asked about their psycho-social backgrounds. We identified ① a positive correlation between perceiving musical determinism/libertarianism and understanding determinism/libertarianism; ② associative/implicit perception of determinism/libertarianism by many respondents; ③ generally low musical theory of mind (MTOM); ④ women’s relatively high MTOM; ⑤ few associations among the participants between virtual causality and concrete pieces; in addition, ⑥ libertarians outnumbered determinists; ⑦ determinists were a minority who had cognitive ability and musicality; ⑧ determinists could evaluate the deterministic spectral pieces and libertarians the free concrete pieces; and ⑨ there was a positive correlation between the respondents’ perceptual/cognitive abilities and their social achievements.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41964749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-08DOI: 10.12975/rastmd.20221021
Haluk Bükülmez
Due to its structure, the violin is an instrument that is used in the performance of many musical genres and has an important place today. The violin, which has also found a place in Turkish music culture, has become one of the most important string instruments in Turkish music performance over time. Another factor that makes the violin popular in Turkish music performance is the training of important performers in the field of Turkish music with violin performance. The main reason for the need for technical mastery and the attitude characteristics One of the performance techniques used to strengthen the musical expression in Turkish music violin performance is the Çifte Kiriş performance technique.used by the performers is to create personal expression and strengthen the musical expression. The fact that instrument performance was mostly used as an accompaniment to oral music until the 20th century and the Çifte Kiriş performance technique was almost never used in accompaniment performances, and the fact that there are very few existing sound recordings performed with the aforementioned performance technique causes the Çifte Kiriş performance technique to be forgotten by violin players today. The most important source we have for the Çifte Kiriş performance technique is the example of the taksim in the Rast makam, performed by the violinist blind Recep with the Çifte Kiriş technique. In this study, it is aimed to determine how the Çifte Kiriş performance technique was created in Turkish music violin performance, and why it is being forgotten today when we look at the Turkish music violin performance history and qualitative research method was used to determine the other technical features required in the Çifte Kiriş performance technique by analyzing the violinist blind Recep's Çifte Kiriş performance technique and the taksim performance in Rast maqam. Looking at the archives of audio recordings performed with the Çifte Kiriş performance technique, it is seen that the mentioned performance technique is used only in the performance of two (2) forms. One of them is Taksim performances and the other is Oyun Havası performances. Although the Çifte Kiriş performance technique used in Turkish music violin performance is similar to the Western music violin performance techniques, Double stops (Fr. Double cordes), there are differences in the way it is formed and the Çifte Kiriş performance technique will be created for the Turkish music style. found to be suitable for execution. It has been revealed that the string arrangement created for the Çifte Kiriş performance technique is formed by lifting the second string from the lower bridge and bringing it closer to the first string, and then tuning the second string at half the frequency of the first string. It has been revealed that there is no existing symbol for the Çifte Kiriş performance technique and the transcripts transferred to the notes for the relevant sound recordings will create difficulties f
{"title":"Çifte Kiriş performance technique in Turkish music violin performance: The example of Rast taksim of violinist blind Recep","authors":"Haluk Bükülmez","doi":"10.12975/rastmd.20221021","DOIUrl":"https://doi.org/10.12975/rastmd.20221021","url":null,"abstract":"Due to its structure, the violin is an instrument that is used in the performance of many musical genres and has an important place today. The violin, which has also found a place in Turkish music culture, has become one of the most important string instruments in Turkish music performance over time. Another factor that makes the violin popular in Turkish music performance is the training of important performers in the field of Turkish music with violin performance. The main reason for the need for technical mastery and the attitude characteristics One of the performance techniques used to strengthen the musical expression in Turkish music violin performance is the Çifte Kiriş performance technique.used by the performers is to create personal expression and strengthen the musical expression. The fact that instrument performance was mostly used as an accompaniment to oral music until the 20th century and the Çifte Kiriş performance technique was almost never used in accompaniment performances, and the fact that there are very few existing sound recordings performed with the aforementioned performance technique causes the Çifte Kiriş performance technique to be forgotten by violin players today. The most important source we have for the Çifte Kiriş performance technique is the example of the taksim in the Rast makam, performed by the violinist blind Recep with the Çifte Kiriş technique. In this study, it is aimed to determine how the Çifte Kiriş performance technique was created in Turkish music violin performance, and why it is being forgotten today when we look at the Turkish music violin performance history and qualitative research method was used to determine the other technical features required in the Çifte Kiriş performance technique by analyzing the violinist blind Recep's Çifte Kiriş performance technique and the taksim performance in Rast maqam. Looking at the archives of audio recordings performed with the Çifte Kiriş performance technique, it is seen that the mentioned performance technique is used only in the performance of two (2) forms. One of them is Taksim performances and the other is Oyun Havası performances. Although the Çifte Kiriş performance technique used in Turkish music violin performance is similar to the Western music violin performance techniques, Double stops (Fr. Double cordes), there are differences in the way it is formed and the Çifte Kiriş performance technique will be created for the Turkish music style. found to be suitable for execution. It has been revealed that the string arrangement created for the Çifte Kiriş performance technique is formed by lifting the second string from the lower bridge and bringing it closer to the first string, and then tuning the second string at half the frequency of the first string. It has been revealed that there is no existing symbol for the Çifte Kiriş performance technique and the transcripts transferred to the notes for the relevant sound recordings will create difficulties f","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42628785","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 : 2022-04-04DOI: 10.12975/rastmd.20221018
L. Borodovskaya, Z. Yavgildina, E. Dyganova, L. Maykovskaya, Irina Medvedeva
{"title":"The possibilities of artificial intelligence in automatic musical transcription of the Tatar folk song","authors":"L. Borodovskaya, Z. Yavgildina, E. Dyganova, L. Maykovskaya, Irina Medvedeva","doi":"10.12975/rastmd.20221018","DOIUrl":"https://doi.org/10.12975/rastmd.20221018","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44498366","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 : 2022-04-01DOI: 10.12975/rastmd.20221017
Zeynep Hatipoğlu
{"title":"A Playful Toll For Collaborative Improvised Music: Time-Makam Analysis Model As A Graphic Notation","authors":"Zeynep Hatipoğlu","doi":"10.12975/rastmd.20221017","DOIUrl":"https://doi.org/10.12975/rastmd.20221017","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45778914","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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