Extended AbstractThe authority that spreads all over life is basically the legitimacy of subordination and obedience. The power, hegemony, domination and authority relations appear everywhere in the arena of the main struggle for power. In the context of music, the existence of authority exists in all fields such as music education, music performance, music research and music criticism. These areas are also built with cultural hegemony, domination and power relations. The legitimate basis of authority in the area of power ensures the obedience of those who are subject to it. Notation is the fundamental basis of authority in the field of music as a written text. People who define the “folk” and its music with the nation state building processes establish their authority through their own legitimate grounds with this definition. In other words, the relationship between folk music and authority is constructed within the meanings and values that are imposed on the music in the name of power, as well as the discourses and performances of the individuals and institutions that define the music. However, in this process, there is a problem between the efforts of the standardization of music and the attempt to maintain the authentic characteristics of folk music: On the one hand, the idea of collecting with an ideological approach and defending the authenticity, on the other hand, standardizing and introducing it to universal values, contains contradictions within itself. In the context of folk music, the “folk”, which is the subject of ideology, becomes a source of the aesthetics imposed by notation. Although this aesthetic is seen as reflecting the “essence of the folk” on the one hand, on the other hand it creates its own aesthetics and ideology by the metamorphosis. In this process, the notation becomes a written text that includes an ideology of the Western, modern, rational thought that is intended to be achieved through the construction of the nation state, and is accepted as an official document of how music and hence culture will be shaped. Thus, notation-centered music thought is invented. But here, the tension between the sound/performance and the text/notation is revealed. This situation is not only seen in Ottoman/Turkish music or Turkish folk music, but also in non-Western world music cultures. The notation-centered idea,emerged in the 19th century in the Ottoman Empire and transferred to Turkey in the 20th century, has an approach by which the music is perceived as an “object” and is “fixed” by notation.The memory-based oral transfer of traditional music has been halted by this approach, which includes a systematizing system of education and performance. This systematization process, which developed in parallel with the institutionalization and standardization activities during the early Republican period of Turkey, was built by fixing folk music on a notation-centered basis. The official collections and compilations for this systemizati
{"title":"Notanın otoritesi, otoritenin notası: Türkiye’de nota-merkezli resmî halk müziğinin yapısökümü","authors":"Ulaş Özdemir","doi":"10.12975/pp2122-2148","DOIUrl":"https://doi.org/10.12975/pp2122-2148","url":null,"abstract":"Extended AbstractThe authority that spreads all over life is basically the legitimacy of subordination and obedience. The power, hegemony, domination and authority relations appear everywhere in the arena of the main struggle for power. In the context of music, the existence of authority exists in all fields such as music education, music performance, music research and music criticism. These areas are also built with cultural hegemony, domination and power relations. The legitimate basis of authority in the area of power ensures the obedience of those who are subject to it. Notation is the fundamental basis of authority in the field of music as a written text. \u0000People who define the “folk” and its music with the nation state building processes establish their authority through their own legitimate grounds with this definition. In other words, the relationship between folk music and authority is constructed within the meanings and values that are imposed on the music in the name of power, as well as the discourses and performances of the individuals and institutions that define the music. However, in this process, there is a problem between the efforts of the standardization of music and the attempt to maintain the authentic characteristics of folk music: On the one hand, the idea of collecting with an ideological approach and defending the authenticity, on the other hand, standardizing and introducing it to universal values, contains contradictions within itself. \u0000In the context of folk music, the “folk”, which is the subject of ideology, becomes a source of the aesthetics imposed by notation. Although this aesthetic is seen as reflecting the “essence of the folk” on the one hand, on the other hand it creates its own aesthetics and ideology by the metamorphosis. In this process, the notation becomes a written text that includes an ideology of the Western, modern, rational thought that is intended to be achieved through the construction of the nation state, and is accepted as an official document of how music and hence culture will be shaped. Thus, notation-centered music thought is invented. But here, the tension between the sound/performance and the text/notation is revealed. This situation is not only seen in Ottoman/Turkish music or Turkish folk music, but also in non-Western world music cultures. \u0000The notation-centered idea,emerged in the 19th century in the Ottoman Empire and transferred to Turkey in the 20th century, has an approach by which the music is perceived as an “object” and is “fixed” by notation.The memory-based oral transfer of traditional music has been halted by this approach, which includes a systematizing system of education and performance. This systematization process, which developed in parallel with the institutionalization and standardization activities during the early Republican period of Turkey, was built by fixing folk music on a notation-centered basis. The official collections and compilations for this systemizati","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46844681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The republic of love: cultural intimacy in Turkish popular music (2010), Martin Stokes book review","authors":"Şeyma Ersoy Çak","doi":"10.12975/pp2209-2212","DOIUrl":"https://doi.org/10.12975/pp2209-2212","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48415487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Extended Abstract Because that Avant-Garde destroyed classical canons of the music, it began to require different approach style in musicology and created some emptiness in the methods of analysis. Revolutionary changes in the style of the harmony, form and orchestral, minimalistic means of expression forced to create respectively tools of analysis. Experience of ethnomusicology that formed minimalistic tools of analysis for a long time seemed useful. Analysis of composer’s music based on intonation, timbre and using terminology can be an effective assistant for discovering the real purpose of music.While looking through the XX century music, we are convinced that intonation methods of early folklore are not disappeared during development of musical thinking but also this period named as folklorism, neofolklore, new folklore wave by musicologists means returning with new social-cultural context and different intonation. Cause that archaic music examples have no nationality, it is applicable to use in research, archaic music of other ethnic group, nations and community (it includes kid folklore, ceremonial music, labor songs and etc. folklore music). The purpose of the study: 1) apply ethnographic terminology and research methods using the example of a bright representative of the creativity of the new folklore wave Javanshir Guliyev, 2) to prove the assertions using examples 3) to clarify as much as possible how consciously the creative process of introduction into archaic folklore occurred. In the research, the methodology of E. Alekseev for early intonation was most used. After receiving the results, the Bricolage term by K. Levi-Strauss and the patterns found between the repeater and the scientist were involved in the study. Some dark moments between the composer and the aesthetics of the modern period were clarified with reference to the idea of the composer-philosopher V. Martinov.Sometimes a 3-level (pitch, dot-functional, intonational) study of music by composers, as in ethnomuscology, can guide us to more valuable results. Separately exploring the melodic language of the modern composer in the first place, you notice a huge difference in the structure of sentences, the quality of division and the technique of expression in classical thought. In our time, a simple musical example cannot express the full impression of music in one world just as in archaic folklore. Classification of melodic types in the world Ethnography: Engelodic - narrow in range melody, Pendelmelodic - undulating, going back and forth, melody similar to the pendulum movement, Treppenmelodic - melody moves layer after layer like a ladder, Fanfarmelor melodic - favorite and often used and often used melodies are used by fan, melodies are melodies. classical composers of the early period, Assendent (from the Latin. Ascender) rising melody. When viewing all these types of melody in the composer’s activities, we cannot assume that all levels of melody development in arch
{"title":"Etnomusiqişünaslıq tehlil üsullarının bestekar yaradıcılığına tetbiqine dair","authors":"Gulnare Rafiq Manafova","doi":"10.12975/PP1993-2008","DOIUrl":"https://doi.org/10.12975/PP1993-2008","url":null,"abstract":"Extended Abstract \u0000Because that Avant-Garde destroyed classical canons of the music, it began to require different approach style in musicology and created some emptiness in the methods of analysis. Revolutionary changes in the style of the harmony, form and orchestral, minimalistic means of expression forced to create respectively tools of analysis. Experience of ethnomusicology that formed minimalistic tools of analysis for a long time seemed useful. Analysis of composer’s music based on intonation, timbre and using terminology can be an effective assistant for discovering the real purpose of music.While looking through the XX century music, we are convinced that intonation methods of early folklore are not disappeared during development of musical thinking but also this period named as folklorism, neofolklore, new folklore wave by musicologists means returning with new social-cultural context and different intonation. Cause that archaic music examples have no nationality, it is applicable to use in research, archaic music of other ethnic group, nations and community (it includes kid folklore, ceremonial music, labor songs and etc. folklore music). \u0000The purpose of the study: 1) apply ethnographic terminology and research methods using the example of a bright representative of the creativity of the new folklore wave Javanshir Guliyev, 2) to prove the assertions using examples 3) to clarify as much as possible how consciously the creative process of introduction into archaic folklore occurred. \u0000In the research, the methodology of E. Alekseev for early intonation was most used. After receiving the results, the Bricolage term by K. Levi-Strauss and the patterns found between the repeater and the scientist were involved in the study. Some dark moments between the composer and the aesthetics of the modern period were clarified with reference to the idea of the composer-philosopher V. Martinov.Sometimes a 3-level (pitch, dot-functional, intonational) study of music by composers, as in ethnomuscology, can guide us to more valuable results. Separately exploring the melodic language of the modern composer in the first place, you notice a huge difference in the structure of sentences, the quality of division and the technique of expression in classical thought. In our time, a simple musical example cannot express the full impression of music in one world just as in archaic folklore. \u0000Classification of melodic types in the world Ethnography: Engelodic - narrow in range melody, Pendelmelodic - undulating, going back and forth, melody similar to the pendulum movement, Treppenmelodic - melody moves layer after layer like a ladder, Fanfarmelor melodic - favorite and often used and often used melodies are used by fan, melodies are melodies. classical composers of the early period, Assendent (from the Latin. Ascender) rising melody. When viewing all these types of melody in the composer’s activities, we cannot assume that all levels of melody development in arch","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45123178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Extended Abstract Folk songs, representing the rich genre of folk music, are a unique examples of art. They reflect a great history, the daily life, lifestyle, customs and traditions of the people, philosophical-psychological, social, domestic, religious and secular perceptions, joy and sorrow, heroic chronicles. Folk songs are as old as the history of the people. U. Hajibeyli emphasized the importance of collecting folk songs and of composing them to eternalize and of working with them in scientific researches. He has repeatedly used this genre in his works. The popularity of folk songs in composers’ work has led to the creation of new methods of use. It manifests their creativity. In the work of R. Mustafayev there are several styles of performance of folk song for choir. Among them, the accompaniment choir is of great importance. Eight pieces of choreography are written in piano accompaniment. Among them are “Yayliq” (accompaniment, 4 part chorus), “Ey, gozel” (accompaniment, 4 voice choral, soloist), “Sevgilim” (accompaniment, 4 part choir, soloist), “Ay gozel” (accompaniment, 4 voice choir) ), “Qara Gile” (accompaniment, 4 choir chorus), “Qara Teller” (accompaniment, 4 voice choral, soloist), “Aman Ovcu” (accompaniment, 4 voice choral, soloist), “Leylam” (accompaniment, 3 voice chorus), “Sevgilim” (accompanied by 4 voice choir) are choral works composed on the basis of folk songs. Apparently, these jobs are grouped according to certain criteria. Their accompaniment and choir, accompaniment choir and soloist are remarkable. Only one of these exercises is designed for 3 voice choirs, each with a 4-voice chorus party. The soloist party has also been involved in four chorus work, and chorus functioning is based on solo, chorus and piano partrs based on the the folk song “Qara Teller”. The piece starts from instrumental five cycles introduction. Its theme does not imply any fraud of the main melody, but is characteristic of the passage and arpeggio, which demonstrates the technical capabilities of the instrument. Arpeggio chords form the based on the instrumental accompany. The chorus party is homophone-harmonic and it acts as a support for the piano party. The composer was able to accompany an ensemble through the tempo of human voices. The chorus of the “Ay gozel” begins with the introduction of the eight-instrumental entry, which is based on the motives of the song, the first two digits are then expanded in the upper register, down through the sequences, with the passage up to the last two digits ending with the cadence motif. This melody is then played in the second sentence of the choir party, Soprano.During the performance of the second and the sentence, the main melody of the piano accompanied the song, while the third sentence is played by the entrance. It also brings a fullness and ensemble of work. In the work of R. Mustafayev’s accompaniment chorus, the piano party has a position of special importance in shaping the bright and imag
{"title":"Ramiz Mustafayev’in müşayietli xor işlemelerinin üslub xüsusiyyetleri","authors":"A. Humbatova","doi":"10.12975/PP2019-2026","DOIUrl":"https://doi.org/10.12975/PP2019-2026","url":null,"abstract":"Extended Abstract \u0000Folk songs, representing the rich genre of folk music, are a unique examples of art. They reflect a great history, the daily life, lifestyle, customs and traditions of the people, philosophical-psychological, social, domestic, religious and secular perceptions, joy and sorrow, heroic chronicles. Folk songs are as old as the history of the people. U. Hajibeyli emphasized the importance of collecting folk songs and of composing them to eternalize and of working with them in scientific researches. He has repeatedly used this genre in his works. \u0000The popularity of folk songs in composers’ work has led to the creation of new methods of use. It manifests their creativity. In the work of R. Mustafayev there are several styles of performance of folk song for choir. Among them, the accompaniment choir is of great importance. Eight pieces of choreography are written in piano accompaniment. Among them are “Yayliq” (accompaniment, 4 part chorus), “Ey, gozel” (accompaniment, 4 voice choral, soloist), “Sevgilim” (accompaniment, 4 part choir, soloist), “Ay gozel” (accompaniment, 4 voice choir) ), “Qara Gile” (accompaniment, 4 choir chorus), “Qara Teller” (accompaniment, 4 voice choral, soloist), “Aman Ovcu” (accompaniment, 4 voice choral, soloist), “Leylam” (accompaniment, 3 voice chorus), “Sevgilim” (accompanied by 4 voice choir) are choral works composed on the basis of folk songs. Apparently, these jobs are grouped according to certain criteria. Their accompaniment and choir, accompaniment choir and soloist are remarkable. Only one of these exercises is designed for 3 voice choirs, each with a 4-voice chorus party. \u0000The soloist party has also been involved in four chorus work, and chorus functioning is based on solo, chorus and piano partrs based on the the folk song “Qara Teller”. The piece starts from instrumental five cycles introduction. Its theme does not imply any fraud of the main melody, but is characteristic of the passage and arpeggio, which demonstrates the technical capabilities of the instrument. Arpeggio chords form the based on the instrumental accompany. The chorus party is homophone-harmonic and it acts as a support for the piano party. The composer was able to accompany an ensemble through the tempo of human voices. \u0000The chorus of the “Ay gozel” begins with the introduction of the eight-instrumental entry, which is based on the motives of the song, the first two digits are then expanded in the upper register, down through the sequences, with the passage up to the last two digits ending with the cadence motif. This melody is then played in the second sentence of the choir party, Soprano.During the performance of the second and the sentence, the main melody of the piano accompanied the song, while the third sentence is played by the entrance. It also brings a fullness and ensemble of work. In the work of R. Mustafayev’s accompaniment chorus, the piano party has a position of special importance in shaping the bright and imag","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43158561","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}
Makalede Siyavus Kerimi'nin bir besteci olarak sarki yaraticiligindan behs edilmektedir. Şarki turu onun yaraticiliginin bagimsiz ve ana alanini olusturmaktadir. Ozellikle lirik sarkilar bestecinin muzik dunyasinin temel gostergesidir.S.Kerimi'nin Ismayil Dadasov'un sozlerine yazilmis “Sensizlik agrisi” sarkisinin ton ve metin ozellikleri aciklanmistir. Soylemek gerekir ki, sarkinin siirsel dayanagini olusturan siir sekli turlu hece sayisi olan satirlardan olusmaktadir. Boyle bir siir olcusu melodik yapiya genis ve gelismis ozellik kazandirmistir. Bestecinin sarki yaraticiliginda onemli yer alan lirik sarkilarla yanisira, Azerbaycan variasion muziginde ozel onem tasiyan lirik-yurtseverlik sarki turunun de yer almasi onemlidir. Asil lirik sarkilari vasitasiyla besteci cagdas Azerbaycan variasion muziginin gelisimine onemli derecede armaganlar vermistir.Makalede onun yaraticilik biyoqrafisini incelemis oldukta, profesyonel faaliyetinin bir kac yonunu belirleye biliriz: performans, bestecilik, bilimsel ve egitim faaliyeti, rektorluk ve aydinlatma, muzik-sosyal faaliyet ve benzeri. Bu yazida bir besteci gibi onun sarki yaraticiligi incelenmektedir.
{"title":"Siyavuş Kerimi`nin sensizlik ağrısı şarkısının ton ve metin özellikleri","authors":"Aynura Mammadova","doi":"10.12975/PP2009-2018","DOIUrl":"https://doi.org/10.12975/PP2009-2018","url":null,"abstract":"Makalede Siyavus Kerimi'nin bir besteci olarak sarki yaraticiligindan behs edilmektedir. Şarki turu onun yaraticiliginin bagimsiz ve ana alanini olusturmaktadir. Ozellikle lirik sarkilar bestecinin muzik dunyasinin temel gostergesidir.S.Kerimi'nin Ismayil Dadasov'un sozlerine yazilmis “Sensizlik agrisi” sarkisinin ton ve metin ozellikleri aciklanmistir. Soylemek gerekir ki, sarkinin siirsel dayanagini olusturan siir sekli turlu hece sayisi olan satirlardan olusmaktadir. Boyle bir siir olcusu melodik yapiya genis ve gelismis ozellik kazandirmistir. Bestecinin sarki yaraticiliginda onemli yer alan lirik sarkilarla yanisira, Azerbaycan variasion muziginde ozel onem tasiyan lirik-yurtseverlik sarki turunun de yer almasi onemlidir. Asil lirik sarkilari vasitasiyla besteci cagdas Azerbaycan variasion muziginin gelisimine onemli derecede armaganlar vermistir.Makalede onun yaraticilik biyoqrafisini incelemis oldukta, profesyonel faaliyetinin bir kac yonunu belirleye biliriz: performans, bestecilik, bilimsel ve egitim faaliyeti, rektorluk ve aydinlatma, muzik-sosyal faaliyet ve benzeri. Bu yazida bir besteci gibi onun sarki yaraticiligi incelenmektedir.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42424661","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}
Ismayil Hacibeyovun “Divertissement” (“Vatto” albumunden sayfalar) isimli eseri sadece besteci yaraticiliginda degil, genel olarak, cagdas donemin son on yilliklarinda Azerbaycan muzik kulturunde kendine has yer tutmus olan ender inciler listesindedir. “Divertissement”de de cok sayda bulgular mevcuttur. Cagdas donemin tezatlarini gosteren bu eserde duygusallik ve entellektin organik vahdeti ozellikle degerlidir. Bu ozellikler bestesi-mutefekkir, ayni zamanda da acik ve hassas kalbli Ismayil Hacibeyov kimligi ve yaraticiligi icin karakteriktir. Bestecinin entellektuelligi onun muziginde her zaman hiss olunur ve bu muzigin tezahurunde de kendini gosteriyor. Eserin kisa bir sekilde tutumuna ragmen, burada entellektuel ve duygusal baslangiclar ozellikle vahtettedir ve cok guclu izlenim uyandirir. “Divertissement”te uygulanmis muzik ifade araclari (melodi, harmoni, ritm, tini, muzik kurulusu), ayni zamanda registrlerin kullanilmasi icsel olarak iki kisma bolunmus kompozisyonlarda ustalikla uygulanmistir. Enstrumantal tiyatro ozelliklerine sahip olan eser bir nevi “muzik aletlerinin tiyatrosu” gibi yorumlaniyor. Bu, bir nevi kucuk muzikli projedir, onun muziginin tiyatro sahnesi ile seslesmesi, veya tiyatro gosterisi de adlandira biliriz.
Ismayil Hacibeyov的《Diversisement》（《Vatto》）不仅是一部虚构生物的小说，而且在阿塞拜疆音乐文化中，它通常在最后十年的cagdas冰淇淋中出现。在《分流》中，有很多观点。Cagdas donemin tezatlarini gosteren bu eserde duygusallik ve entellektin organic vahdeti ozellikle degerlidir。这些海洋是广阔的快乐，但也软弱的伊斯梅尔·哈西别约夫的身份和创造力。食物的智慧总是在他的音乐中感受到，在这音乐的舞台上，他也在猜测自己。再一次，老流氓被抓住了，这里有智力和情感的基础，它醒来时很有意义。“分流”中的应用也适用于两种非包容性的作品，包括旋律、和声、节奏、小调和音乐机构。它被描述为“乐器剧院”，有一个器乐剧院。这是一种木偶音乐项目，所以我们可以称之为剧院场景，或者剧院。
{"title":"İsmayil Hacibeyov’un divertismenti","authors":"M. Valiyev","doi":"10.12975/PP2040-2049","DOIUrl":"https://doi.org/10.12975/PP2040-2049","url":null,"abstract":"Ismayil Hacibeyovun “Divertissement” (“Vatto” albumunden sayfalar) isimli eseri sadece besteci yaraticiliginda degil, genel olarak, cagdas donemin son on yilliklarinda Azerbaycan muzik kulturunde kendine has yer tutmus olan ender inciler listesindedir. “Divertissement”de de cok sayda bulgular mevcuttur. Cagdas donemin tezatlarini gosteren bu eserde duygusallik ve entellektin organik vahdeti ozellikle degerlidir. Bu ozellikler bestesi-mutefekkir, ayni zamanda da acik ve hassas kalbli Ismayil Hacibeyov kimligi ve yaraticiligi icin karakteriktir. Bestecinin entellektuelligi onun muziginde her zaman hiss olunur ve bu muzigin tezahurunde de kendini gosteriyor. Eserin kisa bir sekilde tutumuna ragmen, burada entellektuel ve duygusal baslangiclar ozellikle vahtettedir ve cok guclu izlenim uyandirir. “Divertissement”te uygulanmis muzik ifade araclari (melodi, harmoni, ritm, tini, muzik kurulusu), ayni zamanda registrlerin kullanilmasi icsel olarak iki kisma bolunmus kompozisyonlarda ustalikla uygulanmistir. Enstrumantal tiyatro ozelliklerine sahip olan eser bir nevi “muzik aletlerinin tiyatrosu” gibi yorumlaniyor. Bu, bir nevi kucuk muzikli projedir, onun muziginin tiyatro sahnesi ile seslesmesi, veya tiyatro gosterisi de adlandira biliriz.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43491023","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}
Calismada Azerbaycan`in unlu halk sanatcisi Şevket Alekperova sanatindan bahs edilmekte. Makalede genis sekilde besteci Cahangir Cahangirov`un “Fuzuli” kantatinin teori analizi verilmis ve Şovket Alekberovanin icracilik ozelliklerinden aciklanmistir. Şevket Alekperova`nin sanatindan soz actigimizda ilk once onun repertuarinin, ifa uslubu ozelliklerinin, calisma alanlarinin karakterize olunmasi gerekiyor. Zengin repertuar secimi ve ifa ozelliklerine ciddi yaklasim Şevket Alekperova sanatina has ozelliktir. Şevket Alekperova`nin ifasinda ve sanatinda Azerbaycan musiki kulturunun birden fazla katmanin - halk musikisi, mugam ve besteci sanatinin farkli yonlerini, halk ve pop turlerinin kavusmasini gore biliriz. Sanatci tum turlerde basarili olmus, musiki sanatinin zenginlesmesine katkida bulunmustur. Şevket Alekperova ayni zamanda ogrencilerine ifa sanatinin inceliklerini ogreten essiz egitmen olmustur. Ses sanatcisi olarak Azerbaycan musiki kulturunun, ozellikle vokal sanatinin gelisiminde onemili yer almis, mugam ve halk musikisinin, ayni zamanda da besteci calismalarinin seslendirilmesinde kendi yolunu cizmistir. Şevket Alekperova ifasinin onemli hususlarindan biri de seslendirdigi eserlerde yazarin dusuncesini seyirciye yansitmasi, dolgun ve samimi ifasiydi. Calismada Şevket Alekperova sesinde halk ve pop turlerinin kiyaslanmasi, besteci sarkilarinin ve vokal eserlerinin cesitli janrlarinin kendine has ifa sekilleri aciklanmakta.
在卡利西亚，Shevket Alekperova的艺术中提到了阿塞拜疆著名的公共艺术。本文分析了Cahangir-Cahangirov的“Fuzuli”闪长岩的理论，该理论不受推克贝罗文驱动波的加速。当我们从谢赫·阿列克佩罗娃的艺术中解脱出来时，这是第一次以其曲目、表情风格的疲劳和钙场为特征。谢赫·阿列克佩罗娃的艺术比丰富的剧目更为细腻。Şevket Alekperova‘nin ifasinda ve sanatinda Azerbaycan musiki kulturunun birden fazla katmanin-halk musikisi，mugam ve besteci sanatinin farkli yonlerini，halk ve pop turlerinin kavusmasini gore biliriz。我们处于艺术的底层，我们也处于艺术的底部。与此同时，谢赫·阿列克佩罗娃也是一位对表达艺术进行深入研究的人。作为一名艺术家，阿塞拜疆音乐文化是未来声乐艺术中庆祝非暴力运动的一种方式。阿列克佩罗娃的这句话的十大特点之一是观众的写作情感是完整的。在Calisma，公众的羞辱和莎士比亚声音中的流行音乐之旅引发了刹车和声乐作品的身体效果。
{"title":"Cahangir Cahangirov’un füzuli kantatında Şövket Alekberova’nin icraçılık özellikleri","authors":"Kemale Guliyeva","doi":"10.12975/PP2027-2038","DOIUrl":"https://doi.org/10.12975/PP2027-2038","url":null,"abstract":"Calismada Azerbaycan`in unlu halk sanatcisi Şevket Alekperova sanatindan bahs edilmekte. Makalede genis sekilde besteci Cahangir Cahangirov`un “Fuzuli” kantatinin teori analizi verilmis ve Şovket Alekberovanin icracilik ozelliklerinden aciklanmistir. Şevket Alekperova`nin sanatindan soz actigimizda ilk once onun repertuarinin, ifa uslubu ozelliklerinin, calisma alanlarinin karakterize olunmasi gerekiyor. Zengin repertuar secimi ve ifa ozelliklerine ciddi yaklasim Şevket Alekperova sanatina has ozelliktir. Şevket Alekperova`nin ifasinda ve sanatinda Azerbaycan musiki kulturunun birden fazla katmanin - halk musikisi, mugam ve besteci sanatinin farkli yonlerini, halk ve pop turlerinin kavusmasini gore biliriz. Sanatci tum turlerde basarili olmus, musiki sanatinin zenginlesmesine katkida bulunmustur. Şevket Alekperova ayni zamanda ogrencilerine ifa sanatinin inceliklerini ogreten essiz egitmen olmustur. Ses sanatcisi olarak Azerbaycan musiki kulturunun, ozellikle vokal sanatinin gelisiminde onemili yer almis, mugam ve halk musikisinin, ayni zamanda da besteci calismalarinin seslendirilmesinde kendi yolunu cizmistir. Şevket Alekperova ifasinin onemli hususlarindan biri de seslendirdigi eserlerde yazarin dusuncesini seyirciye yansitmasi, dolgun ve samimi ifasiydi. Calismada Şevket Alekperova sesinde halk ve pop turlerinin kiyaslanmasi, besteci sarkilarinin ve vokal eserlerinin cesitli janrlarinin kendine has ifa sekilleri aciklanmakta.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48688988","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}
Turk muzik kulturundeki ilk nota yazim calismalari Gokturkler ve Uygurlar doneminde baslamistir. Bu toplumlar tarafindan kullanilan Kuca notasyonu Ebced notasinin temelini olusturmustur. Turklerin Islamiyet’i kabul edisinden sonra Ebced notasyonu yayginlasmaya baslanmis ve bu sistem yaklasik olarak 700 yil boyunca bu kulture ait muzik eserlerinin kayit altina alinmasi amaci ile kullanilmistir. Ebced sisteminin kullanimi devam ederken, ilerleyen surecte Kantemiroglu, Tanburi Kucuk Artin, Canakkaleli Hrisantos ve Hamparsum Limonciyan gibi muzik bilimciler Ebced notasyonu disinda kalan sistemlere uygun nota yazim sekilleri gelistirmislerdir. Bu nota yazimlarindan bazilari yogun olarak kullanilmis fakat bazilari muzik icracilari tarafindan kabul gormemistir. Miftâh-i Nota, birkac farkli nota yazim seklini icerisinde barindiran ve olusturuldugu donem icerisindeki toplumsal ve muzikal etkilesimin izlerini tasiyan ozgun bir kaynaktir. Eser icerisinde kullanilan notasyon, kismi olarak gelenekten kismi olarak ta Bati’dan etkilenerek olusturulmustur. Bu notasyon sistemi, iki farkli nota yazim yaklasiminin (harf notasi-dizekli nota) birlestirilmesiyle olusturulmus fakat donemi icerisinde yeteri kadar yayginlik kazanmamistir.
土耳其音乐文化中的第一个符号在古克图尔克斯和维吾尔人边境印刷了calism。这些社区使用的库卡符号是基于Ebsed符号。在接受伊斯兰教后，Ebsed的记谱法得到了扩展，这一系统已经使用了近700年，目的是记录这些黄金文化作品。该系统由kullanimi devam ederken、ilerleyen surecte Kantemiroglu、Tanburi Kucuk Artin、Canakkaleli Hrisantos ve Hamparsum Limonciyan gibi muzik bilimciler组成。其中一些音符被用作瑜伽，但有些音符不接受音乐演奏者。诺塔，各种不同的音符是对冰盖产生社会和音乐影响的巨大来源。古代冰上使用的符号基本上比传统符号更有效。这种记谱系统可以与两种不同的打字方法相结合，但在冰淇淋中没有足够的扩散性。
{"title":"Türk müziğinde notasyon ve miftâh-ı nota","authors":"Ahmet Feyzi","doi":"10.12975/PP1890-1913","DOIUrl":"https://doi.org/10.12975/PP1890-1913","url":null,"abstract":"Turk muzik kulturundeki ilk nota yazim calismalari Gokturkler ve Uygurlar doneminde baslamistir. Bu toplumlar tarafindan kullanilan Kuca notasyonu Ebced notasinin temelini olusturmustur. Turklerin Islamiyet’i kabul edisinden sonra Ebced notasyonu yayginlasmaya baslanmis ve bu sistem yaklasik olarak 700 yil boyunca bu kulture ait muzik eserlerinin kayit altina alinmasi amaci ile kullanilmistir. Ebced sisteminin kullanimi devam ederken, ilerleyen surecte Kantemiroglu, Tanburi Kucuk Artin, Canakkaleli Hrisantos ve Hamparsum Limonciyan gibi muzik bilimciler Ebced notasyonu disinda kalan sistemlere uygun nota yazim sekilleri gelistirmislerdir. Bu nota yazimlarindan bazilari yogun olarak kullanilmis fakat bazilari muzik icracilari tarafindan kabul gormemistir. Miftâh-i Nota, birkac farkli nota yazim seklini icerisinde barindiran ve olusturuldugu donem icerisindeki toplumsal ve muzikal etkilesimin izlerini tasiyan ozgun bir kaynaktir. Eser icerisinde kullanilan notasyon, kismi olarak gelenekten kismi olarak ta Bati’dan etkilenerek olusturulmustur. Bu notasyon sistemi, iki farkli nota yazim yaklasiminin (harf notasi-dizekli nota) birlestirilmesiyle olusturulmus fakat donemi icerisinde yeteri kadar yayginlik kazanmamistir.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42841841","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}
Bu calisma 15. Yuzyil muzik teorisyenlerinden Ahmedoglu Şukrullah Celebi’nin Edvar-i Musiki (EM) eserinin otuz ve otuz birinci fasillarinda ses sagligina yonelik onerilerini gunumuz modern tip cercevesinde aciklamak amaciyla yapilmistir. Muellif tip, musiki ve dini ilimlerde uzmanligi bulunan, Turkce, Arapca ve Fars dillerini iyi seviyede bilen bir âlimdir. Otuz ve otuzbirinci fasillarini calistigimiz kitabin ilk 15 fasli Kitabul Edvar’in Turk diline tercumesi, bir kismi Kenzu’t- Tuhaf’dan alinti bir kismi ise mustakildir. Ses sagligi, ses sisteminde yer alan tum organ ve yapilarin fizyolojik olarak uyumlu bir sekilde calismasi anlamina gelmektedir. Bu fizyolojik uyumda herhangi bir bozukluk ses sagligini olumsuz etkilemekte ve ses kusurlarina neden olmaktadir. Muellif otuzuncu fasilda sese iyi gelen yiyecekler bildirmistir. Bunlarin baslicalari sunlardir: Ispanak, ebegumeci, pismemis yumurta sarisi, incir, bakla, bal serbeti, hardal, badem yagi gibi maddelerin sesi actigindan bahsedilmistir. Otuz Birinci fasilda ise kar suyu icmek, eksi yiyecekler yemek, esrar icmek, istifra etmek ve yatarken bir seyler okumak ses kisikligina ya da bozukluguna neden oldugu belirtilmektedir. Calismamizda Şukrullah Celebi’nin 15.yy. da yazilmis eserinde bulunan onerilerinin gunumuz alternatif tip uygulamalari ile bircok bakimdan uyumlu oldugu gorulmustur.
{"title":"Şükrullah Çelebi’nin Edvar-ı Musiki eserinin 30. ve 31. fasılları: Ses sağlığı","authors":"Gonca Soysal, Nildem Kizilaslan, Fikri Soysal","doi":"10.12975/PP1843-1852","DOIUrl":"https://doi.org/10.12975/PP1843-1852","url":null,"abstract":"Bu calisma 15. Yuzyil muzik teorisyenlerinden Ahmedoglu Şukrullah Celebi’nin Edvar-i Musiki (EM) eserinin otuz ve otuz birinci fasillarinda ses sagligina yonelik onerilerini gunumuz modern tip cercevesinde aciklamak amaciyla yapilmistir. Muellif tip, musiki ve dini ilimlerde uzmanligi bulunan, Turkce, Arapca ve Fars dillerini iyi seviyede bilen bir âlimdir. Otuz ve otuzbirinci fasillarini calistigimiz kitabin ilk 15 fasli Kitabul Edvar’in Turk diline tercumesi, bir kismi Kenzu’t- Tuhaf’dan alinti bir kismi ise mustakildir. Ses sagligi, ses sisteminde yer alan tum organ ve yapilarin fizyolojik olarak uyumlu bir sekilde calismasi anlamina gelmektedir. Bu fizyolojik uyumda herhangi bir bozukluk ses sagligini olumsuz etkilemekte ve ses kusurlarina neden olmaktadir. Muellif otuzuncu fasilda sese iyi gelen yiyecekler bildirmistir. Bunlarin baslicalari sunlardir: Ispanak, ebegumeci, pismemis yumurta sarisi, incir, bakla, bal serbeti, hardal, badem yagi gibi maddelerin sesi actigindan bahsedilmistir. Otuz Birinci fasilda ise kar suyu icmek, eksi yiyecekler yemek, esrar icmek, istifra etmek ve yatarken bir seyler okumak ses kisikligina ya da bozukluguna neden oldugu belirtilmektedir. Calismamizda Şukrullah Celebi’nin 15.yy. da yazilmis eserinde bulunan onerilerinin gunumuz alternatif tip uygulamalari ile bircok bakimdan uyumlu oldugu gorulmustur.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43210282","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}
Gecmisten gunumuze mesk sistemine bagli olarak gelenegin aktarilmasi yoluyla suregelen Turk Musikisinde muzigin icrasi, egitimi ve buna bagli olarak gelecek kusaklara aktarilmasi onemli bir yere sahiptir. Turk Musikisinde temel unsurlardan bir tanesi de Usul konusudur. Turk Musikisi Mesk sisteminin temellerinden biri de usuldur. Buna bagli olarak Turk musikisinde ritmik kural koyucu oldugu icin ifade gucunu arttirir. Teknik olarak notadan veya yazili bir kaynaktan ogrenilmesi guc olan eserlerin hafizada yer etmesinin en onemli faktorlerinden biri gufte ise digeri usuldur. Mesk sisteminde eserin usulu ile birlikte ogrenilmesi esastir. Bu calismada, Turk Musikisi acisindan onemli bir yere sahip olan usullerden “Hafif Formunda- Hafif- Remel- Remel-i Kebir- Remel-i Sengin- Câr Darb- Câr Darb-i Hafif- Sedarb- Rah-i Kerd (Rah-i Kurd)- Muhammes- Darbeyn” on usulun tarihsel muzikoloji baglaminda inceleyerek gunumuzdeki kullanimlarina kadar yuzyillar icerisindeki gelisimlerini veya degisimlerini belirtmeye calistik.
{"title":"Hafif usulünün çeşitlerinin incelenmesi","authors":"Resul Bağı","doi":"10.12975/PP1927-1942","DOIUrl":"https://doi.org/10.12975/PP1927-1942","url":null,"abstract":"Gecmisten gunumuze mesk sistemine bagli olarak gelenegin aktarilmasi yoluyla suregelen Turk Musikisinde muzigin icrasi, egitimi ve buna bagli olarak gelecek kusaklara aktarilmasi onemli bir yere sahiptir. Turk Musikisinde temel unsurlardan bir tanesi de Usul konusudur. Turk Musikisi Mesk sisteminin temellerinden biri de usuldur. Buna bagli olarak Turk musikisinde ritmik kural koyucu oldugu icin ifade gucunu arttirir. Teknik olarak notadan veya yazili bir kaynaktan ogrenilmesi guc olan eserlerin hafizada yer etmesinin en onemli faktorlerinden biri gufte ise digeri usuldur. Mesk sisteminde eserin usulu ile birlikte ogrenilmesi esastir. Bu calismada, Turk Musikisi acisindan onemli bir yere sahip olan usullerden “Hafif Formunda- Hafif- Remel- Remel-i Kebir- Remel-i Sengin- Câr Darb- Câr Darb-i Hafif- Sedarb- Rah-i Kerd (Rah-i Kurd)- Muhammes- Darbeyn” on usulun tarihsel muzikoloji baglaminda inceleyerek gunumuzdeki kullanimlarina kadar yuzyillar icerisindeki gelisimlerini veya degisimlerini belirtmeye calistik.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44732393","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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