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Abstracts
listed in alphabetical order of writer's last name
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Baºa Don
Birgit ABELS
birgitabels@gmx.net
SOUNDS OF SELF
DEFINING BOUNDARIES THROUGH MUSIC IN A WEST MICRONESIAN
ISLAND SOCIETY
The Pacific region is spatially huge and culturally
diverse; its communities, on the other hand, are
spatially small and culturally vulnerable. What these
island societies have in common is the colonial
experience, as varied as it has been. Strategies of
maintaining cultural individuality have been equally
sundry, and they have followed miscellaneous and
multi-layered goals. In all documented cases, music has
been more or less prominently involved as sounding
assertion of a status quo—an assertion which need not
necessarily reflect the homogenous opinio communis of a
given society. The charge of superseding musical
alienation has been heard on remote islands, too; more
often than not, it has triggered an even greater
consciousness for the (musical) Own than the colonial
presence has, and a preference for the musically
“authentic”. The myth of originality, however, has in
places gotten island communities in a dilemma, so much
so that in the well-known case of Guam, for example,
pre-contact culture had to be reconstructed with the aid
of European travelogues.
This presentation focuses music’s function as a locus of
identity negotiation in the case of the small island
republic of Palau, West Micronesia, over the last
century. Here, with the highly functional societal and
social framework of music largely vanished and replaced
with new structures, whole musical genres had to be
reconceptualized. A constant flow of migrants, capital,
ideas and images has been adding further implications
for the process of identity negotiation of Pacific
islanders; identifications abound.
Haºmet ALTINOLCEK - Istanbul Teknik Universitesi
hasmet_altinolcek@mynet.com
MUSIC THERAPY IN LOCAL AND GLOBAL CULTURES
Music is involved in education, science and culture
studies with its features like being a communication art
and media addressing to human feelings, ideas and
behaviors by its distinctive language and expression
elements. One of the ways of the usage of the music in
the life is music therapy. Music therapy is to use the
music systematically for the sake of eliminating the
psychiatric conditions of the patients with
psychological and physical problems.
This kind of therapy has been used for centuries in the
past and several diverse thoughts about this subject
have been developed. These, however, didn’t attain to a
clarity enough scientifically, although some beneficial
results were obtained. Contemporarily, activity
therapies and social therapies are considered important
along with the medicine therapy for the rehabilitation
of the patients and complementary therapy understanding
becomes effective. The most esteemed one of the
complementary therapy is accepted as the music therapy
in the psychiatry world. Lots of schools have been
opened for training specialists of music therapy in
various countries around the world. Specialists of music
therapy knowing music apply the therapy in the hospitals,
clinics, nursing homes and schools.
In this paper, music therapy in local and global
cultures and its application ways will be examined
historically, kinds of therapy in the past and present
will be explained and some suggestions will be proposed
to attract the attention on its importance in our
country.
Senem ACAR - Istanbul Teknik Universitesi
raca_menes@yahoo.com
SPECTRAL REPRESENTATION OF THE TIMBRE FEATURES OF THE
SITAR, KANUN AND CLAVICHORD
The representation of the sound, the
most important expression means of the music, and the
timbre, element of the sound world that cannot be
expressed by the traditional transfer methods of the
sound, in the technological environment is the subject
of this paper. Music is an abstract art contrary to
other branches of art and it is convicted to perish due
to its nature unless it is recorded by any way. Writing
by notation is a traditional representation means
providing a long life for a work of music. This
traditional means, however, never has the capacity to
represent the timbre that is the most important element
of the sound world - giving the characteristics and
essence to the music. The most significant aspect
remained mysterious, namely timbre, becomes to be
represented by spectral analysis method using the
computer technology. In this context, timbre features of
three musical instruments belonging to three culture -
Asia, Mediterranean and Europe - and analysis of these
features in spectral environment are dealt with. Sitar,
kanun and clavichord share the organological
resemblances in primary principles. Starting at these
sharings (operation mechanisms above all), the
similarities and differences in terms of timbre features
are discussed, as well as the perception procedure of
represented timbre element by the audience.
Ozgur AKGUL - Istanbul Teknik Universitesi
ozgur_akgul@yahoo.com
MUSIC MARKET IN TURKIYE AND ROMA MUSICIANS
The relation between music and
individuality composes a vital dynamic of the musical
progress ranging from local music to the music produced
in the music market. Especially in the cases where
technological/aesthetic transition accelerates in the
seasonal/regional scale, that any musical potentials
form their own background by renewing themselves; that
the musicians being the subject of the newness emerge;
and that these musicians direct some traditions
summarizes the mentioned dynamics. This must be dealt
with in terms of the mutual and complicated relation
between music market / recording industry and
traditional music production in the last century when
the developing recording technology and music have
experienced significant transformations. The position of
the Roma musicians, being a considerable part of the
entertainment market in Turkiye historically, in the
music market is a subject to be discussed in terms of
this dynamic. With the spreading/ expanding of the
recording industry after 1960, Roma musicians have
gained an important power in the music market. While the
Roman Oyun Havasi (Roma Dance Tunes) form appeared in
this context meets an extensive demand especially in
Marmara and Aegean regions, cassettes of Roman Oyun
Havasi produced in low costs results in strengthening
the individualism at the same time. Along with the
popularity of world music from 1990’s on, more
professional, Roma musicians centered projects arose.
Increasing number of the projects, I will discuss,
arranged by Roma musicians may be interpreted as the
transformation of the accustomed ’calgici’ (literary
instrumentalist) qualification. Generally speaking, it
is known that the Roma musicians provide a prominent raw
material for the world music market and that it is a
prevalent practice in this market to present the
virtuosity as the expression of the Roma identity. This
approach and presentation way, also valid in Turkiye, conveys the discussions along with such as proving /
defining himself via virtuosity, transformation of the
Roma identity.
Ayºegul ARAL - Istanbul
Teknik Universitesi
aysegularal@yahoo.com
THE
PLACE OF THE CASTRATO VOICES IN MUSICAL REPRESENTATION
Castrato
is a medical operation for the boys highly trained
musically from the early childhood on, to create singers
with soprano voice quality and to maintain the voice as
its childhood state which is assumed to become an octave
lower in his adolescence ages. In this operation, the
boys are made eunuch by damaging or destroying testicles,
the sexual pleasure organs; thus they become castrato
singers having a child larynx but adult lungs. Their
distinctive feature different than other singers is to
sing 250 notes within a breath, in other words to be
able to sustain a note for more than one minute. Their
superiority in the improvisation competence and
extraordinary ornamentation ability are their
distinguishing feature.
The process of castrato began as a result of the ban
executed by the Roman Catholic Church for the women
performing music in 15th and 16th centuries went on in
Europe, especially in Italy in 17th and 18th centuries
and continued until the middle of the 19th century and
was prohibited finally. Due to the pain and depression
as a result of this operation out of their own
initiative in the childhood, the castratos had lived
psychological and sociological instabilities although
they reached to the peak of their arts. That these
artists were deprived of the excellences of life such as
starting a family, having a child, more clearly speaking,
their sexuality rights were bereaved manifests clearly
whether a distinction between male and female is
necessary regarding musical representation and reveals
the data worth to study sociologically.
In this paper, anatomical and sociological structure of
the castrato voices, and by giving information about
their musical abilities, their place in the musical
representation will be proclaimed. Moreover, the
original identities having representation rights in the
music and need to exist in the social structure will be
revealed by the aid of visual and audio examples.
Songul Karahasanoglu ATA - Istanbul Teknik Universitesi
atason@itu.edu.tr
THE CHANGING APPEARANCE AND POPULARIZATION OF MUSLIM
MUSIC IN TURKIYE
The popular music developed by the
influence of the Western music in contemporary Turkiye
has shaped itself by traditional folk music, art music
and arabesk music. Music influenced by Western popular
music is called pop in particular. Arabesk, the most
common known genre except this music, was influenced by
the Arab and Middle Eastern music and created a
distinctive synthesis out of eastern and western music
forms. The genres have interacted each other explicitly,
penetrated one within the other after 1980 and in this
new formation, with no difference between the genres, as
a kind of mixture of western music and traditional music
genres, arabesk has been accepted and became widespread.
Popular music becoming widespread with a fairly high
listening ratios in the society has also effected the
sacred music traditionally classified into two as “Cami
muzigi” (literary mosque music) and “Tasavvuf muzigi” (literary
Sufi music) (music of dervish lodge or religious order)
that are supplied to the market by changing the sacred
music forms according to the political and economic
intentions. Each formation belonging to the popular
music easily listened and consumed has been also used
for the sacred music. This genre sometimes called “green
pop” including religious but especially political lyrics
is a nice example of viewpoint and perception way of the
world of a broad society hardly representing and
positioning itself.
In this paper, changing representation of the sacred
music of current Turkiye, political music under the name
of sacred music and its features will be revealed, its
historical background will be explored, related analysis
are performed and illustrated by some works.
Ozlem AVCI - Istanbul Teknik Universitesi
ozlemavci7@hotmail.com
POPULAR MUSIC AND MUSLIM IDENTITY
The individual always living the
person-person relations in a bouncy and perceivable way
in the traditional social structures does not need the
means influencing the social institutions, formations
and production relations or providing participation to
them. The individual in the traditional societies takes
part in the community organisms of which existence is
felt in the actual relations in all terms. The community,
different than mass or crowd of people, is a setting
where cause-effect relation of cultural production (values,
norms, relations, institutions etc.) can be observed.
There are inherited mechanism determining the role and
behavior of the individual. In this hereditary mechanism,
the individual does not perceive him/herself other than
as he/she is. The community has some strict, decisive
and unchangeable rules whereas modernism is to leave the
old above all. In other words, most generally speaking
modern institution and the traditional institutions are
two directions, two parties never compromising. A good
deal of scientist argues that disappearing all the
traditional institutions and the relations is an
insistence of modernism. Popular culture is one of the
most significant element and field of modernism and so
is popular music of popular culture. Music is a
phenomenon having some functions as well as an
entertainment means in the daily life. Religious groups
in the framework of modernizing religion in the modern
societies started to use the music as an effective means
of own activities and survivals. These activities are
provided by a number of symbols and codes in the music.
Furthermore, liberal market economy dominant in the
country has provided a religious music market in
direction of the religious capitals. This situation
includes several symbols and codes based on the
principle doctrines and life styles of different groups
and communities in the religion instead of religious
symbols in general. Communication and interaction within
the community is provided by these codes and symbols.
Baºa Don
Orhan BABA - Dokuz Eylul Universitesi
babaorhan1@mynet.com
MUSIC IN THE CONTEXT OF MILITARY CULTURE
Due to the requirement of the
division of labor, the professional groups maintain
their musical life in the culture (culture /
enculturation/ acculturation) proper to their own
structural concept. As one of the indispensable element
almost all societies, the army that is the legal, heavy
armed forces of the related nation and its labor music
influence the people in different ways. This music
covering the concepts intensively such as fighting,
killing, death, heroism, patriotism, sharing a common
fate, love of job, bravery and courage impress itself in
the cultures where the terms such as soldier-nation,
army-nation gain a particular meaning.
Turkish military music follows a striking course both
with hard critical points in the history extending to
westernization efforts and with interesting changing and
developing activities in the republican era. It is very
surprising to see that some things does not change in
terms of Turkish military music although elapsing time
more than one century and a radical and striking
transition such as from the empire to the republic.
Political influences can be strongly felt in this music
that reflects the historical and social factors of a
nation and is sometimes intentionally receded as if it
is chauvinistic. Military music except the state of war
turns into a structure aiming to strengthen the
patriotism of the people. It is observed that the
military music tries hard to change itself also by
adding the pop music works into its repertory due to
some reason, like its effect on build an identity
particularly for the youth. As one of the music genre
explicitly expressing the official ideology conveys
extra meanings beyond being a music belonging to a
professional group other than pragmatic features. In
this paper, Turkish military music will be discussed in
the cultural structure and in the case of the army
concept.
ªehvar BESIROGLU- Berna OZBILEN - Istanbul Teknik
Universitesi
besir@itu.edu.tr
CHANGING MUSICAL IDENTITY OF WOMEN IN OTTOMAN-TURKISH
MUSIC:
KANTO-S AND KANTO PERFORMERS
Gender is permanent physical features
giving the opportunity to distinguish the male and
female individuals of living creatures and cultural
structure and variability uniting the principle and idea
sets of social life and, for a natural occurrence, based
on the biological differences and common feelings.
Gender studies started with the feminist scientists
after 1970’s began to be popular later. Identity titles
such as local, society, natural, culture, individual
interest, social interest have a significant role in the
gender studies. Looking at the studies on women drawn on
these studies, it is understood that the methodologies
of the gender studies differ. Because having two sexes
distinct, independent cultures and musical
understandings will be natural and the judgments will be
done accordingly, if woman lives in a male dominant
society and culture, if there are restrictions,
constraints in this world, and if dissimilarly living in
female and male domains is in question. On the other
hand, the distinctive culture and musical understandings
would not be observed in the societies with common
sharings and common female-male dominance. Criticizing
the world musics in terms of intercultural and
interdisciplinary intelligibility has improved with the
spreading of ethnomusicology. “Gender in Music” and
“Music and Woman” in particular as a new title in the
world music cultures becomes very prevailing with the
expansion of the studies related to various areas of the
music. The researches determining the role of the women
in the Ottoman period musical life have acquired also
importance as a new exploration area.
In this paper, by referring the significance of the
music in the harem of the Ottoman Palace and identity of
female musicians differentiating with the music
understanding improving and changing in the palace and
its environment from 19th century on, female kanto
performers and their musical identity will be assessed
in terms of kanto being the first popular music genre in
the Ottoman cultural life.
Zeki BUYUKYILDIZ
eyecenter@superonline.com
THE INFLUENCE OF THE GLOBALIZATION MOVEMENTS ON NATIONAL
MUSIC CULTURE
The aim the study is to explore the
influence of the globalization movements on music
culture of our country.
In this study, the fact globalization diffusing in the
world inevitably and the subjects of national music
culture are dealt with and conflict between
globalization and national culture is attempted to be
revealed. The relation of commercially targeted politics
of multinational companies with globalization is
explored and the structure and features of mass culture
caused by globalization are displayed. Moreover, the
interaction and the competition of mass culture and
national culture are considered. While production and
consumption ways of mass culture, the approach of the
people to the mass culture are discussed, the ties of
the people with the national culture are qualified.
Mass culture, popular culture, popular music in addition
to elements of traditional and national music culture
and their mutual interaction are tried to be clarified.
The importance, production and consumption of music as a
product are talked about and local and global dynamics
of music culture and their interaction are attempted to
be evaluated.
Baºa Don
Vincent Tao-hsun CHANG - National Chengchi University
vthchang@ms32.hinet.net
AESTHETIC COMMUNICATION AND REPRESENTATION IN POPULAR
MUSICAL DISCOURSE: A SOCIOPRAGMATIC AND CRITICAL
APPROACH
This paper aims to propose a
sociopragmatic study along with a critical analysis of
the Chinese popular songs of Jay Chou's album Fantasy
World, where his performance shapes and enhances him as
a Taiwanese pop music celebrity and a cultural polysemy.
They plentifully exploit multilingual devices, namely
lexical choice, code-mixing, non-standard (and somehow
weird) pronunciation, metaphor and poetic effects within
storytelling. These language elements present a notable
music style and can add interest and novelty to the
audience, tracking her to his salient intention, and yet
producing cognitive and psychological effects, e.g.
humour and irony. Secondly, socioculturally speaking,
they pose a youth culture in attempts to challenge the
long-established educational system and language policy.
They provide some features of 'righteous disobedience'
via the above-mentioned (para-)/linguistic constructions
and display cultural pluralism initiated from Japanese
and Western cultures. Thirdly, they are ideologically
significant for conveying such appeals and frames as
nostalgia, indigenization, family ties, friends'
rapport, gender relations and glocalization by
reflecting current social concerns and the lifestyles of
petits bourgeois. Encouraging an imaginative and active
audience to spell out a variety of weak implicatures
involving feelings, emotions and attitudes along these
realistic or fictitious scenes and reach the 'optimal
relevance' (Sperber & Wilson 1995), they not merely
invite and persuade the audience members to recognise
the prominent inter-/cultural values, but also query the
conventional value structures and social norms
(patriarchic authority, social hierarchy, etc). Popular
music, lending itself as a symbolic domain for
ideological analysis, not only serves a fashion-driven
arena embracing competing forces with social continuity
and change, but reifies psychological reality within
mass culture. This functional and critical linguistic
study reveals the dialogic relations between form and
function in musical discourse, reflecting the
interaction and dynamics of communicator and audience,
and thus keeping the dialectical relationship between
social structures and social practice/discourse
(Fairclough 1995).
Kalaly CHU - University of New South Wales
chukalaly@yahoo.com
PHOTISM: CONNECTIONS BETWEEN MUSIC AND THE VISUAL ARTS
THE PALETTE OF DEBUSSY, KANDINSKY AND SCHONBERG: THEIR
CROSS-MODAL CONCEPT DEALING WITH ART MAKING … FROM
REPRESENTATION TO ABSTRACTION
During the early years of the 20th century, painters and
composers came closely together to explore the close
psychological relationships between eye (visual) and ear
(auditory). The interaction of arts and music often
projected “a melange of sensations” to the audience
which unfolded new perspectives and dimensions in
perceiving the existing world. According to Marks (1975)
“Photism” (sounds evoke visual images) is a by-product
of auditory-visual interactions. Aristotle (1931), in
the 4th century (B.C.) had already mentioned that the
harmony of colours is similar to the harmony of sounds.
Marks (1975) also asserted that regularity,
systematisation and consistency from one person to
another did exist in the relationship between the colour
and sound. Between colour and sound, Kandinsky regarded
colour as the most musical element in a picture. He
summarized by stating that the “colour is the keyboard.
The eye is the hammer. The soul is the piano with many
strings.” (Kandinsky, 1912). Schumann believed that “the
composer converts the painting into sound. The aesthetic
process of the one art form is the same as that of the
other; only the raw materials differ.” (Roberts, 1996,
p3) Debussy argued “why could we not use the means that
Claude Monet, Cezanne, Toulousse/Lautrec and others had
made known? Why could we not transpose these means into
music?”
The aim of this paper is to demonstrate that the visual
‘kaleidoscope’ of sound is the “direct product of a
creative mind” (Hanslick, 1885, p.68). The paper will
start from the impressionist movement, which
demonstrated the inter-reaction of cross-modal
perception (such as visual-auditory, visual-tactile;
visual-tactile-smell) through studying the element of
“light” in the process of art making and the paper will
also touch on Kandinsky’s and Schonberg’s artistic
development.
Baºak Unal CALLI - Dokuz Eylul Universitesi
basakcalli@superonline.com
MUSIC VIDEOS IN THE POSTMODERN PERSPECTIVE AND THE
ANALYSIS OF THE VIDEO “SAKIN HA” OF NEZ
Postmodernism, one of the popular concepts of today
becomes recently one of the most discussed topics on the
researches about the popular music or music videos as in
other disciplines. In terms of the meaning of the word
also, post (after)-modernism is a becoming populist -
becoming pluralist process by breaking the stereotypes
of the elitist/formalist aesthetic understanding
referred by the modernism toward the end of 20th century.
Among the fundamental phenomenon described by the
postmodernism, rejecting the propositions having a
widely accepted assertion, accepting being multicultural
and disintegration, emphasizing and the difference and
appropriating the diversity, including plurality and
eclectic can be considered.
Music videos due to their features provide an
appropriate area for exploring the researches with
postmodern perspectives. While first of all watching the
music is a postmodern state by itself, music videos
attract the attention as a new and original form not
conforming the existing cultural and artistic forms. Nez
being the focus of the study have a distinctive style of
her music and her dance for the diversity originated in
her identity. The video of the song Sakin Ha is composed
of three different substructures in the music and three
different costumes connected with three different spaces.
The video of the song Sakin Ha of Nez serves the
plurality and being multi cultural fundamental principle
of postmodernism with the eclectic structure where she
uses sometimes the dance figures from varied cultures
one after another and sometimes the elements all
together from diverse dance cultures in one figure by
fusing them.
Video is explored with a postmodern perspective because
it includes the features of being multicultural,
plurality and eclectic, the fundamental principles of
postmodernism although it doesn’t contain the features
like pastiche, parody, schizophrenia that are mentioned
in the existing postmodern video analysis.
Zehra CATALTEPE- A. Sonmez- E. Adali - Istanbul Teknik
Universitesi
cataltepe@itu.edu.tr
MUSIC CLASSIFICATION
USING KOLMOGOROV DISTANCE
We evaluate the music composer and genre classification
using an approximation of the Kolmogorov distance
between different music pieces. The distance
approximation has recently been suggested by Vitanyi and
his colleagues. They use a clustering method to evalute
the distance metric. However the clustering is too slow
for large (>60) data sets. We suggest using the distance
metric together with a k-nearest neighbor classifier. We
measure the performance of the distance metric based on
the test classification accuracy of the classifier. Test
classification accuracies of 80% are achieved for
musical composer classification using MIDI files of
pieces from three different composers (Bach, Chopin,
Debussy). For genre classification among classical, jazz
and heavy metal pieces, again test
classification accuracies of 80% and more are achieved.
The performance of the metric seems to depend on
different pre-processing methods, hence domain knowledge
and input representation could make a difference on how
the distance metric performs. We also find out that the
classification accuracy increases with training set
size. This is a promising result since usually music
repositories contain thousands of records.
Ahmet Emre ÇELİK - Müzik ve Bilim Dergisi Sahibi
ahmetemrecelik@yahoo.com
TÜRK MAKAM MÜZİĞİ MÜZİKOLOJİ
GELENEĞİNİN DÜNÜ BUGÜNÜ VE YARININI GENEL BİR
DEĞERLENDİRME
Üç bölümden oluºan bu çalıºmanın birinci bölümünde Türk
Makam Müziğinin 1000 yılı geçkin müzikoloji geleneği ele
alınacak geçmiºten 20. yüzyıla kadar olan anlayıºa
değinilecektir. 20. yüzyıl – 21. yüzyıl arası anlayıºta
ve algılayıºta yaºanan değiºim ve açılımlar tespit
edilecektir.
İkinci bölümde bazı terimler incelenecek, etimolojik ve
anlamca değerlendirilecek ve Türk Makam Müziği
Müzikolojisinin konumu belirlenmeye çalıºılacaktır.
Üçüncü ve son bölümde, birinci ve ikinci bölümde yapılan
tespitlerden yola çıkılarak yeni değerlendirmeler
yapılacak ve Makam Müziği Müzikolojisinde eksik
bırakılanlar, bunun sonucunda kültür hayatımızı bekleyen
yozlaºma tehdidinden bahsedilecektir.
Aykut Bariº CEREZCIOGLU - Dokuz Eylul Universitesi
aykut.cerezcioglu@deu.edu.tr
PLAY THEME IN BULENT ORTACGIL’S SONGS AND SYMBOLIC
MEANINGS
The meaning as a cognitive or emotional content attached
to a word, a sign, a narrative or a concept express the
dynamic interaction between the reader, the audience and
the message in terms of communication. The meaning
appeared both as a product and as a result of
communication being the carrier of this interaction
doesn’t have a given – unchangeable feature. The meaning
is also not the absolute feature of the “things”, but it
is a structure attributed to these things by human being.
Therefore, a reference point is needed other than the “things”.
Signification or comprehension is an existence that
connects a sign envisaging an object, a being, a concept,
a phenomenon. Hence, signification is the discoursive
object of a product generated by the social practice.
According to Barthes, there are two levels of
signification. The first level called direct meaning
indicates the simple or actual relation between the sign
and signifier. The second level is connotational one. It
is emphasized that the culture using the sign interprets
the direct meaning which finally represents the value
system of an individual.
Bulent Ortacgil having a distinctive place in Turkish
pop music draws attentions by reflecting the themes
employed in the lyrics through metaphors and symbols
created by him. The most striking one among these
symbols is ”play”, that has an important place in his
semantic domain created as a symbol beginning from his
first album and the attributes meanings of which has
changed through the years. In this paper, the using way
of “play” theme and other related subsidiary elements in
Ortacgil’s music will be examined by drawing on the
lyrics.
Sevilay CINAR - Istanbul Teknik Universitesi
sevilay_cinar@hotmail.com
SOCIAL GENDER AND FEMALE MINSTRELS
In spite of the changing social,
economic and cultural values in Turkiye, the patriarchal
family structure and sex discrimination in our society
determine the rules and the roles in the society valid
for the women. Women under the influence of social and
religious traditions can hardly change their social
roles, because our women cannot take place in the
decision mechanisms due to these effects shaping the
socio-cultural structure of the society. Although some
of women from certain cities in Turkiye have the same
rights, equality and freedom enjoying the European women,
women living in the rural areas of Turkiye are
persecuted because of the pressures of the social and
religious traditions. Reminding their roles in the
society, women are prevented to execute their
professions freely by social and religious constraints.
Female minstrels try to survive their existence under
these conditions. In this context, some of them had to
leave their baglama that they love too much, by which
they express themselves and depict their feelings,
because of the assigned social roles. And they adopt
this role as much as that they are not aware of this
situation being a problem.
We can argue that a great amount of the examples given
when we want to illustrate the poets- minstrels having
an important role in our cultural history are male in
our country. When we look for the answers whether there
are female minstrels, if there are, then why we don’t
know or hear their names, we encounter the reality that
female minstrels don’t want to be in front of the
society as a result of the assigned roles and influences
of the social and religious traditions. The objective of
this paper is to show that in fact there are female
minstrels lost in their social roles and to proclaim
their problems faced with under the structure of the
patriarchal structure of the society, so that to give
the female minstrels support they deserve for the
maintenance the tradition of minstrels.
Gozde COLAKOGLU - Istanbul
Teknik Universitesi
gozdecolakoglu@hotmail.com
AUDIO AND VISUAL EXPRESSION WAY OF THE REPRESENTATION OF
TURKISH CULTURE: KARAGOZ
Social and cultural differentiation, technological
improvements and related social changes today cause the
traditional arts to encounter to the danger of vanishing.
The alteration of the social conditions bring together
with progress sometimes and vanishing sometimes. We can
show Karagoz, top of the important folk arts in our
culture, as a substantial example.
We encounter to various assumptions while exploring the
existence of the Karagoz play historically. Although
that its background goes back to the period of Orhan
Gazi is supposed, Karagoz play found its role in our
culture about in 16th and 17th centuries. From these
centuries on, “Karagoz Play” known also as “shadow play”
or “reflection play” became one of the distinctive
entertainment genres particularly in Istanbul and then
spread out via the artists visiting the other cities in
Anatolia in the Ottoman period.
Karagoz becomes well-known not only because it
entertains by presenting funny events but also because
it covers the social events of the related period with a
critical view, blends satire and comedy, a folk art
having the element of satire in comedy in its essence.
This traditional art losing its satire element in the
course of time, however, could not establish a role both
in the changing social structure and in the constantly
developing technology with the mass media and digital
tools; thus vast social masses have started to forget
it.
In this paper, all the elements of Karagoz heritage that
unites the cultures and music of the ethnic origins
lived on the lands of the Ottoman Empire, and that
succeeded to reach to the present time among many other
traditions will be considered and its history will be
explored.
Baºa Don
Ilknur DEMIRBAG - Istanbul Teknik Universitesi
4demirbag@ttnet.net.trALEVI
MUSIC
Music is a means for seeing most of
the features of the land of origin reflected on the
human, for expressing the feelings and thoughts. In this
context, distinctive musical structures and performances
have originated in different cultures produced by the
diverse lands and geographies. Excellent and various
samples can be found in Turkish folk music. For example;
Mugam-s, Bozlak-s, Deme-cevirme-s, Semah-s having a
distinctive function in Alevi music culture create an
extensive variety with performance samples having
different singing styles and thematic diversity in terms
of their subjects other than analytical investigation.
Given samples are very important in terms of the
cultures they represent.
Alevi music and particularly semah is a totality
covering music along with dance and ritual because of
its performance setting. In this context, it represents
a number of customs, procedures and understanding when
social dimension is considered. Therefore, Alevi music
is one of the best specimens for the musical
representation.
Ozlem DOGUª - Istanbul Teknik Universitesi
ozlemdogus@hotmail.com
THE DISTINCTION OF THE MUSICAL REPRESENTATION BASED ON
GENDER
I want to state that representation
in music have different extents for each music genre and
that we cannot mention just one way of representation.
Moreover, when we choose the assessing way by multiple-directional
scope such as representer of the music and represented,
it would be possible to qualify and to manifest various
representation ways by starting with the questions that
how and for which purpose the represented geography is
represented by the groups of people and these structures.
In this study, main purpose is to reveal in which
settings representation differences based on the gender
occur, whether, at the same time, representation
togetherness are in question, how the geography
influence the representation way in terms of gender.
Based on the female types from Anatolia in particular
(at that point, I want to declare that this is a study
with emphasis on female and that male representation
types and examples are used just to indicate the
differences), how and according to what representation
ways differ in diverse female types, which social
configurations produce these difference will be proven
by the examples selected from my existent and future
fieldworks.
However, I need to proclaim that the setting of
representation of particularly traditional female types
is during the practices done before and after the
wedding ceremonies having a special function in the
Anatolian life. Furthermore, I will mention about
performance way in the “mevlit” ceremony (among the
women), more secret and a religious representation way,
in terms of musical representation. While giving all
these sample representations, I want to call the
attention to the female vocal styles that representation
similarities in some timbre and performance styles have
to be evaluated. These examples will be usually
supported by the pictures, video and sound analysis
materials.
CUMBUS AS INSTRUMENT OF “THE OTHER”
The cumbus (Turkish twelve-string fretless banjo) is
an instrument whose image in the Turkish public
imagination has been, throughout its existence, burdened
by the work of representation. Despite early Republican
efforts to popularize the cumbus as an “appropriately
Turkish” replacement for the ud (which was perceived as
Persian in origin) it was shunned by the classical music
establishment, and is today associated with Roma and
Kurdish musicians. Photographic and archival evidence
show that the cumbus (“invented”—or at least patented—in
1930) and its precursors were employed in the early
twentieth century by urban professional musicians from
the non-Muslim minority populations of Istanbul, Izmir,
Salonika, etc., and recently it has been featured in
Western-style Turkish pop/rock music. The hypothesis of
this paper is that the cumbus, due to its early
associations with the musical practices of non-Turkish
minorities, has served as a symbolic nexus of negative
representations of “the Other” in Turkish society,
whether the focus of Otherness centers on issues of
race, class, religion, political opinion or in the
battlefield of identity between Western-style
(alafranga) and Ottoman-style (alaturka) cultural norms
in Turkish society. Furthermore the paper will explore
recent uses of the cumbus to contest and counteract
negative stereotypes associated with communities who use
the instrument.
CÜMBܪ
AS INSTRUMENT OF “THE OTHER”
The cümbüº (Turkish twelve-string
fretless banjo) is an instrument whose image in the
Turkish public imagination has been, throughout its
existence, burdened by the work of representation. Despite early Republican efforts to popularize the
cümbüº as an “appropriately Turkish” replacement for the
ud (which was perceived as Persian in origin) it was
shunned by the classical music establishment, and is
today associated with Roma and Kurdish musicians.
Photographic and archival evidence show that the cümbüº
(“invented”—or at least patented—in 1930) and its
precursors were employed in the early twentieth century
by urban professional musicians from the non-Muslim
minority populations of Istanbul, Izmir, Salonika, etc.,
and recently it has been featured in Western-style
Turkish pop/rock music. The hypothesis of this paper is
that the cümbüº, due to its early associations with the
musical practices of non-Turkish minorities, has served
as a symbolic nexus of negative representations of “the
Other” in Turkish society, whether the focus of
Otherness centers on issues of race, class, religion,
political opinion or in the battlefield of identity
between Western-style (alafranga) and Ottoman-style (alaturka)
cultural norms in Turkish society. Furthermore the paper
will explore recent uses of the cümbüº to contest and
counteract negative stereotypes associated with
communities who use the instrument.
Merve EKEN - Istanbul Teknik Universitesi
merve_eken@yahoo.com
CHANGING OF FASIL PERFORMANCE AND TODAY’S
FASIL PERFORMANCE
Fasil performance is a traditional
performance being popular in all periods in Turkish
music. Even today, it is possible to observe various
programs under the name of fasil in a deal of places. On
the other hand, we acknowledge that it reaches today
with a serious change. Why does fasil being a classical
Ottoman performance change this much? To find out the
answer, we have to turn back up to 19th century. Its
serious transition started with the popularization of
the sarki (song) form especially in 19th century. Since
this century, sarki form started to locate dominantly in
the fasil performance and large forms started to be
forgotten gradually. It gets a new identity from this
century on. Social changes as migrations occurred after
the establishment of the Republic were naturally
reflected on the cultural life, by which the fasil
performance was influenced. There are lots of
differences between fasils performed in the gazino in
1950’ and 60’s and supposedly fasil called fasils
performed today.
First of all, the locations and their features have
changed. The entertainment programs so called fasil
carried out usually in the restaurants and bars today
were performed in the gazino or at homes as so called
‘home fasil’s in 1960’s.
The next change is seen in the performance itself. The
interludes (aranagme), modulations of the sarki and the
linking of the instruments providing a continuity being
the most important feature of the fasil performance do
not conform to the procedure, which results in a
destruction in the quality of the fasil.
The change of the performance is also related to the
repertory. In this fasils, with the aim of entertainment,
the programs are arranged according to the requirements
of the audiences, which means playing more popular songs
rather than “fasil songs”.
This study is based on my field study about fasil
programs executed in Kumkapi, Etiler, Bakirkoy and
Taksim that cover contrast social and economic features.
This paper, I will reveal the fasil programs of today
both in the concert halls and in the entertainment
locations by attributing the social changes and the
performances executed in 1950’s and 60’s.
Levent ERGUN - Dokuz Eylul Universitesi
levent.ergun@deu.edu.tr
TRADITIONAL TURKISH ART MUSIC PRACTICES IN TRANSITION
CONDITIONS: A CASE STUDY ABOUT “FASIL MUSIC AND GROUPS”
Musical genres, styles maintain as
much as their adaptation skills to the dominant
ideological conditions developed. Traditional Turkish
Art music, as almost all other genres, has a historical
background with appearance, development/maturation and
restarting with the disappearance of the life conditions,
and as a product of distinctive dynamics.
In this paper, first of all I will focus on the
significant milestones of the Traditional Turkish Art
music throughout its history. In order to explore the
transition of the Traditional Turkish Art music faced
with today in terms of text, producer and consumer, I
try to answer the following questions: What kind of a
genre is the Traditional Turkish Art music categorically?
Are there distinctive profiles of performer and audience
of this music? Are there any relations among the
audience identities? If there are, in what kind of time
and space is this relation established?
These and this sort of questions are difficult to give
absolute answers. In this paper, I want to answer these
questions in an ethnographical framework by examining
the performance and listening practices found recently
in some entertainment places of the bigger cities with
the name fasil music and groups.
Ayhan
EROL - Dokuz Eylul Universitesi
aerol@deu.edu.tr
REVIVAL OF FOLK MUSIC IN TURKIYE: TURKU BAR AS CASE
STUDY
Folk music is a
cultural heritage passing over the differences of age
and social class in Turkiye. Nevertheless, it is also
not a reality independent of time. Revivals of folk
music have a long history. A general, short
investigation of the revival of Turkish folk music
reveals both the changes of the revivals along the time
and some historical and social movements. In this paper,
first of all, I will state the outline of the discussion
about the folk music in Turkiye; although I do not want
to tell always the story, however I think it will be
useful for a better understanding about the new events.
Secondly, I will examine the strategies of the musicians
who wants to revive and modernize the folk music in
their performances carried out in the “Turku Bar” as an
entertainment and performance place defined and
established by Turkish folk music. For this, I will use
folk music scene of Izmir.
I will try to find out the answers especially for
following questions: Which conditions and contexts
encourage folk music practice rather than mainstream
popular music genres like rock, pop, rap, disco,
arabesk? How modernized Turkish folk music contribute to
cultural identity of audiences and revival musicians
practicing this kind of music? What are the special
representing facilities of folk music revival?
These questions are very hard to give absolute answers.
The purpose of the paper is not to give absolute answers
but to describe and to analyse in an ethnographic
context.
Michal Grover-FRIEDLANDER - Tel Aviv University
mgrover@ias.edu
DYING OUT OF THE OPERATIC VOICE IN CINEMA
My talk is about the figure of the dying out of song.
The ephemeral nature of song is one of its most noted
featured. Yet what are ways of presenting this dying out
itself? My paper explores one such attempted
representation of the dying out of the operatic voice as
it is transported into the medium of cinema: Franco
Zeffirelli’s Callas Forever (2002).
Callas Forever fictionalizes an account of the last four
months of Callas’ life, the time when she no longer
possess a singing voice, and attempts to present this
wondrous bygone voice on screen. Callas Forever offers
the diva two options for "revival." One by re-embodying
her past voice: offering Callas a comeback in film in
which she is dubbed by her own voice captured in past
recordings. The second, by relearning an operatic role,
finding a novel interpretation for the character, in the
hope to thereby revitalize her nearly non existent
present voice. Each option of animating the lost voice,
renegotiates notions of "presence," "after life" and
"death of voice" as well as the relation between what we
hear and what we see. Crucially however, the plot of
Callas Forever stages the failures of both of these
alternatives to create a "presence" of the voice of
Maria Callas in cinema.
The film fails to preserve the presence of the operatic
voice once it is removed from its immediate source, the
prima donna’s emission of voice. The metamorphosis of
the diva’s voice into a dubbed image attests to a loss.
The film barely holds on to what the voice leaves behind
it, somberly attesting to the remains of the operatic
voice when appropriated as a cinematic image.
Baºa Don
Asli GALIOGLU - Dokuz Eylul Universitesi
asl4@hotmail.com
DANCE AND SEXUALITY;
Dance Courses in Izmir and Sexual Codes in the Attitudes
of the Participants
Judith Lynne Hanna
proposes in the introduction of her book called “Dance,
Sex and Gender” that sexuality and dance share the same
instrument, i.e. the human body. In many studies about
dance, the close connection between the practice and
sexuality and related expectation is emphasized. Dance
courses found a place in the popular culture are in
great demand in Izmir last years. Observing the
attendance of participants, the belonging to a group,
their participation in the dance practices as rituals
and the dance practices in particular nights, we
understand that the roles of the identity in the
community and of the sexual identity become clear with
the music and dance. The diversity in the expectation of
the participants in Izmir is experienced as well as the
diversity in their practices learnt and enforced during
the course period. This diversity is closely related
with the expression of the claim based on sexuality
initially.
The paper is established upon observing three different
dance courses and their participants from Izmir and
accordance of attitudes and aims with the sexuality
found in the dance itself.
Patryk GALUSZKA - University of Lodz
patryk@atlas.cz
ARTIST'S NAME – A SIGN, A WORD, A BRAND NAME
Artists' names are symbols with a
specific meaning, which carry a message about the music.
At the same time, they are brand names, which help to
distinguish one artist from the other and sell their
records more easily. The paper presents the results of a
study of over 780 Polish artists' names, which were
carefully examined to find a relationship between the
name (language, orthographical correctness, use of
capital letters) and the music genre. The study proved
that there is a strong relationship between artists'
names and their music. The paper tries to find the
interpretation of the results, indicating the marketing
meaning of artists' names.
Ali Cenk GEDIK –C. Iºikhan, A. Alpkoçak, Y. Ozer - Dokuz
Eylul Universitesi
cenk.gedik@emo.org.tr
AUTOMATIC CLASSIFICATION OF TURKISH MAKAMS
This paper presents classification of 10 Turkish makams
each consisting of 20 records; hicaz, mahur, rast,
uººak, buselik, huseyni, segah, acemaºiran, muhayyer and
nihavend. Our main motivation is searching for intrinsic
attributes of makam such as scale and especially
“seyir”. As various schools and of makam
theory throughout history have defined “seyir”
implicitly, our study tried to reach both a more
explicit definition of the concept and, in addition,
other attributes to makam concept.
Total 200 MIDI recordings
are classified into 10 makams, using concept of seyr and
scales. False classified samples or confusion are
aroused mostly between buselik and nihavend, huseyni and
muhayyer, mahur and acemaºiran. While all hicaz and
segah samples are correctly classified, rast samples are
mostly discriminated by intervallic movements from mahur
and acemaºiran. On the other hand few uººak samples are
confused between buselik and huseyni. Results seem to be
consistent with theory and interpretations of these
results thought to open new discussions on makams.
Finally this classification study of Turkish music can
be said to supply an opportunity for new approaches to
general automatic music classification.
Sinem GOLEBAKAR - Mimar Sinan Guzel Sanatlar Universitesi
sgolebakar@mynet.com
CONTEMPORARY ECLECTIC MUSIC OVER DIFFERENCE AND ALL
TOGETHERNESS
Eclectic formations can be found among the contemporary
works of art defined as “postmodern”. Sufi tones and
mystic effects becoming a current issue in this context
and more frequently faced in the world music from day to
day have been used with the music genres such as techno
and rock with the contribution of the technology. Whom
and how the music formed by articulating or transforming
these tiny portions represents is the problem of this
paper.
The “postmodern communities” replacing the homogenously
structures and traditional communities in the society
are representing and represented beyond the traditional
sense contemporarily. This understanding establishing
itself over difference and its result togetherness
represents heterogeneously structured groups by
establishing “instant”ly communities. At this point,
however, to what extend it will be right to call this
formation representation? All of them will be discussed
in the paper and perhaps it will be vain with a
“postmodern outcome”.
Georgina
GREGORY
ggregory@uclan.ac.uk
TRIBUTE BANDS AND THE IMPORTANCE OF VISUAL AUTHENTICITY
Tribute Bands are largely
ignored in the majority of studies of popular music.
This is partly due to the fact that their mimetic
intentions are at odds with the popular music canon’s
traditional emphasis on originality. The
paradoxical nature of authenticity expressed by Tribute
artists will be examined. On the one hand critics point
to their lack of authenticity, both musically and
visually, and yet for fans of popular music, the Tribute
Band’s careful copying of the orginal artists’ visual
identity provides a necessary hallmark of authenticity.
This paper looks at the rise of the Tribute Band
phenomenon as an example of the increasingly important
role played by the visual in contemporary popular music.
Other examples of copying, simulation and theft which
have occurred within post-war popular music will be
discussed and the evolution of this type of
entertainment will be viewed within the context of a
growing acceptance of the fake over the original and the
rise of the visual over the aural in popular culture’s
economy of signs.
Volkan GULOGLU - Mugla Universitesi
vguloglu@yahoo.com
IDENTITY OF TOP BILLING ARTIST AND REPRESENTATION FIELD
Top billing artists have a
distinctive role in the music culture of Turkiye in
1970’s and transmit a number of messages behind the
culture they represent consciously or unconsciously. In
this context, news about top billing artists covering
the years between 1970 and 1992 are investigated by a
semeiological study to determine what lies under the
foundation of the images of these artists found in the
articles of SES periodical being the most popular one
among the magazine periodicals in 1970’s. Similarly,
Kral periodical, a music-magazine periodical, believed
to reflect the music culture of 2000’s is also examined.
Ses and Kral periodicals are compared and the music in
Turkiye and related cultural change are researched
concerning the top billing artists. How the cultural
production areas are transformed also studied in terms
of these researches. The question that which
evolutionary stages are passed through by the image
shaped by the artist and the performance in the gazino,
his/her legitimate area, in the established relation
net, so that gained a cultural identity is dealt with.
This problem is also discussed in terms of changing
entertainment ways. The new position of the top billing
artist in the framework of transformation from the
gazino, the entertainment place of the urban middle
class, to the clubs, the entertainment place of the
urban elite class, and remaining the artistic
performance behind the visual performance are explored.
All the data will be revealed in the congress.
Johann HASLER - University of Newcastle Upon Tyne
J.F.W.Hasler@newcastle.ac.uk
OCCULT THEMES IN MUSIC: THREE LEVELS OF MUSICAL
REPRESENTATION
The magical, the occult and the
esoteric have been a constant fountain of inspiration
for composers and music theorists of all times. From
Kepler's translation of his astronomical observations to
"Comsic Music" and the Florentine Intermezzi about the
music of the spheres and the magical powers of music, to
Stockhausen's Gnostic operas about angels and Messiaen's
symphony on cosmic unity, passing through the Masonic
works of Mozart, the theosophical ones of Scriabin and
the astrological suite of Holst, composers of all
styles, aesthetic affiliations and varying degrees of
commitment to occult movements and systems have drawn
inspiration from the mystical and occult for their
works.
This paper argues that a careful study of the classical
repertoire based on or inspired by occult themes will
show that there are three main levels of representation
of the occult in music, and that the decisions on the
level of representation that a composer makes while
working on a piece will modify the material, from a mere
touch and extra-musical inspiration in some of the
subtler approaches, to a complete re-appraisal and
re-design of the whole musical system and theory in the
more radical ones. The paper also proposes that this is
seems to be directly proportional to the familiarity of
the composer with the chosen occult system or theme, and
perhaps also with his ideological commitment to it.
LACIN IªIK - Dokuz Eylul Universitesi
lacini_2004@yahoo.com
INTERPRETATION IN FAN CROWDS, SEBNEM FERAH’S CASE
The importance of the audience of the
popular music is an important research area. Thee stages
in the popular music draws attention in the conceptual
studies executed to comprehend the position of the
audience: production-text-consumption. Consumption, the
last stage, is considered as “ethnographic” studies
found in the daily life rituals and the main focus is
generally on the fan.
The cognitive or emotional meaning attached to a word,
symbol, sign, narrative, theory etc. expresses the
dynamic interaction between reader/spectator/audience
and message in terms of communication. (A. Erol) The
mentioned interaction appears in the interpretation
process of the text by the fan and it is important that
these fans produce an active and multi voiced
consumption community. That active mass communicate to
other fans regarding text interpretation causes
discussions and re-interpretation production. While
meaning production is fulfilled between the audience and
the message, how the message receivers interpret becomes
more considerable, not how it is perceived by the
message. From this point, message interpretation of the
fans has to be explained in different extents.
The extents of the interpretation of the fan crowds are
tried to be illustrated by dealing with Sebnem Ferah and
detailed samples related with her fans. From a different
point, lyrics and video clips of Sebnem Ferah discussed
in the feminist discourse are also within the range of
this paper. Due to the fact that the fans of Sebnem
Ferah having position in the rock music practice in
Turkiye interpret her in the feminist discourse, but she
is not in the feminist discourse explicit in the
interviews carried out with her.
Interpretation of fan crowd will be explored from
different point of views in Sebnem Ferah’s case.
Cihan IªIKHAN – G. Ozcan- A. Alpkoçak - Dokuz Eylul Universitesi
cihan.isikhan@deu.edu.tr
REPRESENTING POLYPHONIC MUSIC BY MONOPHONIC
MUSIC:
‘MELODY CENTERED MOVEMENT’
With a rapid improvement of Music Query System (MQS) recently,
the techniques developed for more productivity in the
current life also increase with the same rate. That the
music data stored in the databases for comparison are
thought as monophonic melody instead of polyphonic music
and that the music is represented as such is one of the
techniques tried to be improved in the MQS recently.
‘Skyline’ algorithm among others developed by
Uitdenbogerd is one of the most widely used algorithms
due to its success in practice. This algorithm chooses
the highest pitches and receives them as the melody.
However, that this method does not differentiate the
musical instruments, and thus may consider the
instruments having the least possibility to be a melody
causes serious mistakes in melody selection. To remove
this disadvantage, we have developed a new algorithm
used before ‘skyline’ and during the application of
‘skyline’ to reach a more productive result. Based on
the hypothesis that the melody perceived in the music
does not consist of a single instrument or a single
partition but of the totality and the melody is a
component of this totality, we propose a new melody
extraction method.
We call this new melody extraction method ‘Melody
Centered Movement’. Using this method, we have extracted
the note histogram of first of all instruments then each
instrument one by one. Next, we have eliminated the
instruments with the least possibility to be a melody
according to the total histogram after a series of
resemblance processes. Thus, we have enhanced our chance
to catch the melody during the ‘skyline’ application.
Finally, we have selected the highest pitches of the
left instruments. So, by extracting the melody from a
polyphonic music, we have changed it to monophonic and
have represented the music in MQS as such. We have
produced new software directed to our algorithm and we
have tested this new algorithm on 30 works found in our
music reserve created beforehand. We have acquired 95 %
success in all works whereas 99 % success in Western art
music of classical period with our algorithm.
Baºa Don
REPRESENTING
THE NATION: THE CASE OF THE TURKISH SAZ AND GREEK
TAMBOURAS
Following the foundation of the Turkish Republic, the
need to forge a new national identity which would
represent the Turkish people and break with the Ottoman
past, materialized in a number of reforms in religion,
language and culture. Musical reform, inspired largely
by the cultural theory articulated by sociologist Ziya
Gõkalp, entailed a three-partite schema consisting in
the restriction of Ottoman art music, the dissemination
of Western music, and the promotion of Turkish folk
music. Through the process of ‘nationalization’ of the
latter, the rural baglama became a key symbol in the
official construction of Turkish identity (M. Stokes,
The Arabesk Debate).
What is perhaps less known, is that the very same
instrument (constructed in and imported from Turkey),
called in Greece tambouras – a name which refers
to a long-necked lute which was similar to the saz
and found throughout Greece until the early 20thc.
– has been chosen as the compulsory instrument in the
teaching of Greek traditional music in State Music
Schools. This was the result of a series of ideological
and musical developments, which culminated in the early
’80s in an urban revival movement that focused on a
re-exploration of the Ottoman Greek musical milieu and
foregrounded a number of Eastern instruments such as the
kanonaki (kanun), outi (ud),
kemenche (lira politiki), nei (ney) to
represent aspects of Greek identity.
In my paper, I address comparatively the representation
of the baglama/tamburas within the national ideologies
of the two countries in question. I trace the migration
of the Eastern instruments from Turkey to Greece, and
the semantic transformations that this entailed.
Focusing on issues of identity and of music and meaning,
I also tease out the ironies involved in a process which
emanated largely from the need to construct ‘difference’
from the national ‘other’, Greece and Turkey
respectively.
Gulay KARªICI - Dokuz Eylul Universitesi
karsicigulay@yahoo.com
DJ IN CLUB SCENE DJ AND CLUBBING IN IZMIR
Clubbing that is recalled by the
youth as a way of entertainment today means simply to go
to the club at night and have fun. The story of the club
culture in Turkiye starts in Istanbul in 1990’s. Funky
Business Productions, known as FBP is the initiator of
this music in Izmir. This company organizing parties
started to arrange parties with the DJs invited from
Istanbul and abroad in its place called Kemik Club
opened in Alsancak. In the summer time, the parties are
organized again by FBP in the Joy Beach Club in Cesme.
This study is carried out as a result of the interviews
with organizers, DJs and clubbers found in club scene
and of the observations in the events (all kinds of club
activity at night) in Izmir. In the paper, the facts
such as clubbing, music, DJ and party in the Club Scene
special to Izmir will be discussed.
Akitsugu KAWAMOTO -
University of North Carolina at Chapel Hill
kawamoto@email.unc.edu
MUSICAL REPRESENTATION OF “HORROR”: THE ROLE OF
INTERTEXTUALITY AND NARRATIVITY IN KEITH EMERSON’S SCORE
FOR DARIO ARGENTO’S INFERNO (1980)
When
you watch a horror film with the volume turned down, the
film may even look like a comedy – an evidence of the
decisive role music plays in “horrifying” the viewer.
But what kind of musical sound can represent a “horror”?
Some have certainly mentioned strong dissonances, tonal
ambiguity, non-cadential progression, abrupt changes of
dymanics, and so on. But the term “horror” can be
defined as a “violation” of the viewer’s “most
rudimentary expectations about the world.”. Any answer
to the question then must address much deeper issues of
how music can repudiate our most basic world views,
rather than just mentioning those superficial musical
features. To explore music’s power to represent horror,
this study explores two important aspects of music:
intertextuality and narrativity. Musical intertextuality
is a mixture of different styles in one piece. A mixture
of widely different styles would create a very
unfamiliar sound. For example, in the 1970s,
progressive rock musicians experimented with mixing
“rock” and “classical” styles, creating a new kind of
music, the music of “the future” or “the space.”.
Musical intertextuality can thus represent, if vaguely,
some supernatural mood that contradicts our everyday
reality in general…I will suggest that, along with some
surface musical features, deeper aspects of music such
as intertextuality and narrativity must be further
explored to better understand the power of music to
represent “horror.” It will become clear that
these aspects would also be useful for explorations of
musical representation in general.
Makiko KAWAMOTO - Duke University
mk54@duke.edu
SILENCE AS AN ECHO OF NARRATIVE VOICE:
WAGNER’S PARSIFAL AND DEBUSSY’S PELLEAS ET MELISANDE
The young Claude Debussy, admitted his fascination with
the musical beauty of Richard Wagner’s Parsifal in a
newspaper published in Gil Blas on April 6, 1903: “[T]he
musical side of Parsifal, [...] is of the utmost beauty.
There we hear fine orchestral sonorities that are unique
and quite unexpected. It is one of the most beautiful
edifices in sound ever raised to the eternal glory of
music.” Scholars have read such admissions as hints that
Richard Wagner’s Parsifal could have had a strong
influence on Claude Debussy’s compositions, in
particular his only opera, Pelléas et Mélisande.
Compared with the motives and harmonic resemblances
between these two operas, however, another important and
conspicuous element in Parsifal, silence, has hardly
been considered as an influence on Pelléas. Certainly,
silence in Parsifal has not been neglected, as is seen
is the writings of Adolf Nowak. But the way Wagner’s use
of silence influenced Debussy has yet to be explored,
especially when considering that Debussy showed his
interest in silence and had a critical insight into
Wagner’s usage: “I found myself using, quite
spontaneously too, a means of expression which I think
is quite unusual, namely silence […]. In this paper, I
would like to examine musical silence as evincing
analogies between Parsifal and Pelléas in terms of its
formal and narrative function with special focus on the
“prophecy” with a leitmotive “pure fool” in Parsifal
(especially in Act 1) and Pelléas’s speaking in
imitation of his father (Act 4, Scene 1).
Daniel KOGLIN - Humboldt
University
dkoglin@hotmail.com
MUSIC OF CLASHES;
OR, CONTROVERSIAL MEANINGS OF
REBETIKO IN GREECE AND TURKEY
The present situation of popular music in Greece is
incomprehensible if one does not take into account the
contribution of urban rebetiko song as well as the
public controversy which accompanied its development
since its first appearance in Greek discography during
the 1930s. Rebetiko did not always have as good a press
as today; over a long period many commentators defined
it as “artless,” “criminal,” “vulgar,” “Asiatic” or
otherwise marginal in a derogatory sense. Yet, a
majority of the Greek public have always been fond of
this music which, over the last fifteen years, enjoys
growing popularity in Turkey, too. Today, the genre
called “rebetiko” is appreciated by many people in both
countries – some of whom criticize contemporary forms of
popular music, like arabesk or Greek skiladiko, with
just the same pejorative words which had formerly been
applied to rebetiko.
Based on my own recent fieldwork in Athens and Istanbul
and on my experiences as a performer of rebetiko music,
I want to demonstrate how rebetiko is presented to and
received by local audiences in both cities, what it
represents, which associations, meanings and attitudes
are attaching to it. I will reveal its ambivalent,
heterogeneous and often divisive nature:
Rebetiko songs evoke images of a distant past; but that
is precisely why they become meaningful for audiences of
today. Mingling the past with the present they give rise
to mixed feelings when the sense of amusement and
togetherness they create gets bitter with a “collective
grief” over painful reminiscences of loss and
separation.
Elisabeth KOLLERITSCH -
University of Music and Dramatic Arts
elisabeth.kolleritsch@kug.ac.at
Austria
THE SIGNIFICATION OF JAZZ AS A SYMBOL FOR FREEDOM
IN AUSTRIA AFTER THE SECOND WORLD WAR
This paper is to
show the social-political relevance of jazz in Austria
after the Second World War. Its signification as a
symbol for freedom forms the centre of this
investigation. This cultural phenomenon is to be seen in
a close connection with cultural transformation
processes, in general with the phenomenon of
Americanization, of globalization all over the world.
The vacuum of the as it were „jazz-less time“ during the
war years stirred curiosity towards this music and so
much more was the delight at the end of the war when
this music could be played and listened without
restrictions. Gradually it became a synonym for freedom
and newly won joy of life. It experienced its first
impulse through US-American and British Allied Powers
who showed to be enthusiastic promotors of the cultural
and entertainment life in Austria, and this included
numerous public venues for jazz musicians. Together with
the pleasure of being allowed to enjoy jazz, a symbol of
liberation as a political metaphor has appeared. What
jazz was originally, i. e. living without bonds in order
to get on living, to feel free from supression,
certainly had this function, at least partially. This
developement was experienced as a new way of modern
life, for which Americanism was a symbol. The new found
freedom was used by the Allied Powers for political
reasons, too. The analysis shows that the role of
the US-American cultural policy concerning jazz was very
ambigous. At the beginning jazz, especially new forms of
jazz (like Bebop or Free Jazz) provoked serious
opposition in the US-American Congress. This music as
the music of Afro-Americans could have been understood
as demand for freedom and to have equal rights for the
black population,. But soon it became obvious that
this music could be used to gain sympathy for the USA
and to serve as a propaganda weapon in the Cold War and
it was established as a fixed part of the culture
programs for foreign countries.
Conference language: French
Hamid van KOTEN - University of Dundee
h.h.vankoten@dundee.ac.uk
DECONSTRUCTING MUSIC VIDEO
MTV has become a prime example of a 'global village'
magazine. This paper will look at the value systems
represented in music video. Questions asked are: What
models do we find in music video, specifically with
regards to ethnic and gender representation? What
stories do these tell us and which stories are left out?
What are the social and philosophical implications of
this? What are we to make of the style of music video,
its particular medium and its global audience?
Drawing on the work of Theodor Adorno, Sut Jhally and
Jacques Lacan this paper will explore the complex
interactions between artists, producers and consumers of
music video. Rather than adopting a 'media effects'
model it will argue that music video is a vibrant
cultural melting pot, which contains many clues about
our global culture and thus is worthy of serious study.
Irfan KURT - Istanbul Teknik Universitesi
kurti@itu.edu.tr
PRACTICE OF ART OF SATIRE IN THE REGIONAL EXPRESSION AND
REALITY OF “MANDA YUVA YAPMIS SOGUT DALINA”
Folk songs (turku), one of the products of Turkish folk
music, have dealt with various themes in the human life,
extending from the birth to the death. In short, no
themes left that the folk songs haven’t treated. In this
broad sense, what the folk songs tell and what the words
mean have to be known very well. Only then, many folk
songs named as fake and believed to be meaningless, that
lots of them have profound meanings and what they
represent are understood.
There are plenty of folk songs that are to make laugh
but at the same time to make think with satiric
treatment. In the folk song “Manda yuva yapmis sogut
dalina-Yavrusunu sinek kapmis gordun mu” (literary it
means; a water buffalo nested on a branch of willow tree-Did
you see that a fly caught its calf) A reference is made
beyond the statement “Acting as if not knowing/not
understanding although knowing/understanding” In the
paper, the implicit meaning of how a water buffalo can
nest on a branch of willow tree and how a fly can catch
its calf will be explained. That the liken skill and
sense of humor can be also found in the daily life will
be revealed by giving samples from regional language.
Belma
KURTIªOGLU - Istanbul Teknik Universitesi
kurtisogl1@itu.edu.tr
THREE SAMPLES
ON MUSIC AND ROMAN IDENTITY
Roma people are frequently presented to the audiences as
musicians in the films of Turkish cinema and television
in addition to the contentious and cheerful features to
underline their identity, with accompanying definite
melodies and rhythmic structures identified with the
Roma people. Regarding the performance space, audience
and music genre, the characters representing the lower
socio-economic class also belong to the lower status in
musicianship career. Therefore, it is believed that
music and the Roma people identity are mixed to each
other.
“Girgiriye”, cinema film serial shot at the beginning of
1980’s, the apolitization period of Turkiye; “Darbukator
Bayram”, an TV serial broadcasted at the beginning of
1990’s; “Cennet Mahallesi” an other TV serial
broadcasted at the beginning of 2000’s, when the
discourses like “multiculturalism”, “richness of
diversity” and “ethnic awareness” are very popular and
“the world music” is at the top of the music market, are
the three examples to be dealt with in this paper.
Drawn on these examples, to reveal that the Roma
identity and identified music is shaped by the social
value systems but independent of the individual’s mind
is the aim of the paper.
Bulent
KURTIªOGLU - Istanbul Teknik Universitesi
kurtisogl2@itu.edu.tr
MOVEMENTS
OF TURKISH FOLK DANCE AND IDENTITY
Movement is the
fundamental element of the dance. The life style
effectively determined by the geographic and climatic
conditions is reflected to the forms of the human
movement. The movements formed on the body merged with
the musical elements reflect in the traditional setting
the characteristics of the region where they belong to.
The movements of Turkish folk dances also appear by
being influenced by the life style of the related region.
The types of posture or holding hands or arms may
reflect the nature of the region. The figure that
includes stepping or raising a foot, or the movement of
the foot made in the air may express that which
community or which region performs it.
In this paper, that movements used in Turkish folk
dances belong to which region and which community and
that performance of the movements represents the
cultural identity will be offered with some
illustrations.
Firat KUTLUK - Dokuz Eylul Universitesi
firat.kutluk@deu.edu.tr
MUSICAL STYLES IN TURKISH RAP AND “UNDERGROUND” IN
DIFFERENT MEANINGS
Turkish hip hop movement is active in
three cities; Istanbul, Izmir and Bursa. There were some
characteristics in Turkish rap music such as
nationalism, the use of traditional instruments and
motifs from Turkish folk music and popular musics from
1970s which called "Turkish samples". Rap music styles
called in different authentic names. Yener, the famous
Izmir based rapper defined his music as “arabesk stil“
(arabesque style). Another style is belong to one of
famous Turkish rap group Sagopa Kajmer. Their music is
known as “pesimistik rap“ (pessimistic rap). The other
main styles are “sosyopolitik rap" (sociopolitic rap)
and "funky rap".
Underground as a rap term was taken up different
meanings in Turkish rap. Some rappers suggest that
underground is a period before a rapper debuting his
first album which songs not publicly known. He is not
underground with that. Some others claim as a music
which using swearwords. Thomas Solomon underlined the
underground characteristics in Turkish rap music in six
topics (Living Underground is Tough: Authenticy and
Locality in the Hip Hop Scene in Istanbul, Turkey) and
one of them is using Turkish samples and traditional
instruments but all the Turkish rappers in Izmir
declined this argument.
This paper will examine the musical styles in Turkish
rap -especially focus on Turkish samples- and
underground in different meanings.
Claire LEVY -
Institute of Art
Studies at the Bulgarian Academy of Sciences
levy@cablebg.net
BALKANIZING THE GROOVE? REPRESENTATION OF MUSICAL
Hybridity
Hybridity
Taking a closer look at particular cross-cultural
representations in which a ‘non-western’ musical touch
of Balkan origins interacts with
Hybridity
‘western’-derived popular music canons,
the paper aims at
exploring specific developments in musical language and
the way it reflects cultural identities.
The discussion suggests a hypothesis concerning the
question of why the Balkan groove – taken basically as a
particular metric asymmetry observed all over the
Balkans which signifies unevenness in music but in
lifestyles as well, – is called for a new life and can
be understood as a challenging stylistic pattern in the
modern world. Unfolding Hybridity
the notion of difference, seen as both a
sociocultural phenomenon and a specific provocation in
contemporary artistic forms, including in terms of
values, creativity, fusion and hybridization, the
discussion draws on perspectives outlined in postmodern
cultural theory. Hybridity
Baºa Don
Janne MAKELA - University of Helsinki
janne.makela@helsinki.fi
NORDIC EXOTICA
THE ROLE OF NATURE IN FINNISH POP EXPORTS
It is often understood that
globalization in popular music means the dominance of
the popular music industry and the invasion of
international music styles and stars. While it is true
that the growth and acceleration of economic and
cultural networks has resulted in multinational pop
markets and thus transcended national boundaries,
globalisation process also involves strong local and
national aspects. The economic dimension of
globalisation not only means replacing national styles
with international products but also includes selling
local or national artists for mainstream global
consumption.
In some cases, the 'localization of
the global' include distinctive environmental images and
narratives. This presentation seeks to understand the
role of nature in selling Finnish popular music to
international markets. Starting from the late 1960s with
the arrival of the Fenno-Cossack Viktor Klimenko and
ending in contemporary representatives of suavely
organized pop exportation, the paper explores how modern
sounds, music stars and the idea of archaic nature
relate to each other. Has the image of grim weather been
an advantage or obstacle for Finns to gain foothold in
international pop markets? Who defines - and owns - the
'Nordic exotica' in popular music?
Irene MARKOFF - York University
imarkoff@sympatico.ca
ALEVI MASTER MUSICIANS IN A POSTMODERN TURKISH WORLD:
RECONFIGURING
TRADITION/RENEGOTIATING IDENTITY
This paper will be illustrative of my
own reconfiguration of Alevi performance practice in
light of the increased visibility of Alevi expressive
culture stimulated by a Turkish socio-political climate
that has favored cultural identity, difference, and
diversity. The analysis will explore how in the past two
decades professional Alevi masters of the Turkish
baglama (folk lute) have engaged more openly in the art
of composition (bestelemek) in contrast to the
techniques of variant formation and simple arrangements
(duzeltme) more common in the past. As such
professionals moved beyond the boundaries of their
regional origins and embraced pan-Alevi and pan-Turkish
musical traditions, they searched for new sources of
inspiration through research and fieldwork and
experiments with functional harmony that involved
collaborations with Western music specialists. An
investigation of these sources will help reveal the
nature of the creative process and how aesthetic and
thematic choices reflect changes in Alevi identity.
Case examples will illustrate how baglama experts
transform and create traditional repertoire, sometimes
fusing regional musical prototypes with Western
compositional techniques and instruments. These examples
will also demonstrate how musicians are now able to
celebrate their Alevi heritage without former
insider/outsider restrictions. Artists featured in the
analysis include Ali Ekber Ciçek, Arif Saĝ, Yavuz Top,
Musa Eroglu and Kivircik Ali, a young artist whose
pop-infused, innovative style may be an indication of
future directions in the revitalization of Alevi
music-making.
Recorded examples will accompany the presentation which
is based on more than 20 years of research in Turkey and
the diaspora.
Hettie MALCOMSON - University of London
hettie@macunlimited.net
(RE)PRESENTATION AND THE ART OF COMPOSING PERSONHOOD
New ‘classical’ music in Britain today can be
envisaged as divided between ‘community’ and ‘art’:
whilst some composers are keen to work on obviously
‘social’ projects and/or in groups of creative artists,
others retain a closer link with romantic notions of
individual autonomous creation. However, the social
nature of the latter (apparently ‘autonomous’) music is
inherent in its very being, as well as in its support
from institutions and the media. In this paper I will
argue that identifying the conceptual and social
networks through which this music exists opens a new
door on research into contemporary music.
My paper will present a case study of the British Music
Information Centre’s ‘New Voices’ scheme, which promotes
and distributes the music of young British composers,
independently from commercial publishers and record
companies. Building upon Alfred Gell’s anthropology of
art (1998), I consider the ways in which pieces of music
might be construed as social agents, captivating and
ensnaring via their virtuosity and aesthetics. I explore
how these composers enact (re)presentations of
themselves in their scores, in their playing, and in
their extra-musical ‘performances’. Finally, I ask what
part (re)presentations of personhood play in
establishing composers’ success and prestige.
Rubén Gómez MUNS - Universitat Rovira i Virgili
ruben.gomez@urv.net
THE MUSIC, INSTRUMENT OF THE INTERCULTURAL DIALOGUE
Nowadays we are living an epoch where the paradigm of
the interculturalty is impregnating the social sciences
and the cultural policies. There are several to explain
this difference, but the most out-standing one is the
need to overcome the points of view represented by the
multiculturality and the pluriculturality, which seem to
be unable to face to the challenges that the phenomenon
of the globalization represents, to the increase of the
transnational movements of population and to the
transculturals movements. Though we must not mask the
dangers that we can find in the field of this paradigm.
The coexistence of the different cultures in the world
itself, like inside the different societies, with his
identity connotations, they have put of manifest the
need to establish a fluid dialogue between them to be
able to come to a mutual understanding based on the
respect, on the recognition of the difference and
diversity. If we understand the culture as a set of
symbolic expressions, we observe how the music exercises
an out-standing role, on having constituted a symbolic
and very complex domain provided with great wealth and
symbolic capacity. For this reason one sees so affected
by questions as cultural patrimony, cultural heredity,
acculturation, exoticism, cultural consumption, the
fashion, fusion and hybridisation that they provoke a
high quantity of discussions. Which, have been enriched
with relatively new concepts how revival, mitification,
cannibalism, equalization, mitologize....
The complexity of this debate needs from my point of
view the introduction a subject, that perhaps, much has
been largely mentioned but it has been worked little,
the capacity of cultural dialogue in the music.
Serpil MURTEZAOGLU - Istanbul Teknik Universitesi
serpilm@mail.com
THE ELEMENT OF LYRICS IN ROMA MUSIC
Music being the one of the influential means for
expressing the emotions and ideas also comes first among
the significant elements representing the culture of a
society. Music being the fundamental component of the
entertainment in Roma society is also effective as an
identity signifier. Music and dance in terms of visual
and auditory are the most explicit features among the
Roma people being able to identify the cultural
representation with a society. Roma music performed
usually in the rhythmic pattern of 9 beat without
considering whether it is instrumental, with lyrics,
slow or fast one of the most distinctive music among the
world music producing bodily movement in terms of dance.
Music, an indispensable element of the life of Roma
symbolizes usually the joy and excitement. Although they
live in insufficient conditions as social status, lyrics
questioning the life in that sense or having
philosophical abstractness can be hardly found in the
Roma music. The lyrics are mostly about daily life.
Slang and humor are the most frequently happening
elements as well as longing towards the beloved and the
themes evoking sexuality are usually treated. While
individualism is highly common, the lyrics written for
the name of a person including even the names of the
characters from the TV films or serials with the
development of communication are fairly plenty.
In this paper, based on the main idea of cultural
representation, Roma music with lyrics found
particularly in Thrace region and Istanbul will be
explored in terms of the themes of lyrics and their
reflection on dance.
Baºa Don
Sinem OZDEMIR - Istanbul Teknik Universitesi
snozdemir@yahoo.com
FIRST STEP OF REPRESENTATION PROVIDING THE EXPRESSION IN
MUSICAL COMMUNICATION: HEARING, AND AUDIOMETRIC ANALYSIS
FOR AUDITORY FUNCTIONS
The ear being the fundamental element
of the communication is the most significant organ used
by the musicians in their professional education and
performance life. Having a healthy ear and auditory
functions is the basic requirement during this process.
In addition to hearing the sound reliably, a musician
gains the quality of musicianship by understanding this
sound and analyzes it along with the physiologically
hearing. The definition of ‘musician ear’ defines this
comprehension.
Auditory ability is currently measured by audiometric
devices used in the study area of medicine. While
audiometric analysis could not go beyond the
determination of auditory loss, now they offer solutions
for the scientific studies measuring more precisely by
using developed computer software prepared by the
improving technology.
In this paper, audiometric analysis of the musician and
non-musician groups will be executed by the advanced
computer software Cool-Edit Pro; the difference of the
perception level of changes in sound frequency and the
achievement level of distinction between being sharp and
being flat in different pitches among the individuals
having no musical training and the musicians’ auditory
ability except the daily communication duty of the ear
believed to be innate or to be improved proportional to
the performance duration within the education process
will be presented. These researches will be supported by
visual and auditory materials.
Alp
OZEREN
alpozeren@mynet.com
STUDYING THE MARKETING STRATEGIES OF PRIVATE MUSIC
SCHOOLS IN ISTANBUL DRAWN ON CULTURAL REPRESENTATION
Both
“music industry” and “marketing strategies” become more
and more important and functional. It is necessary to
explore this cooperation also from the point of
“cultural representation” as a prominent illustration of
interdisciplinary interaction. The data presented in the
paper have an importance for sociology of music and will
contribute to the forming an opinion about mission and
vision of private music schools in point of “cultural
representation”.
Feridun OZIª - Dokuz Eylul Universitesi
feridun.ozis@deu.edu.tr
EVALUATION OF THE SOUND FIELDS OF THE SPACES WITH
RECTANGULAR CROSS-SECTION BY RT ANALYSIS
Rooms with rectangular cross-sections are recently used
among other rooms utilized as sound fields. This type of
spaces is practical especially due to the calculability
of the room modes and the convenience of construction.
Problematic frequencies in the rectangular cross-sections
can be initially determined regarding to calculability
of the mode and the dimensions of the room may be
changed to some extent. So that, basic problems in the
frequency response of the room can be reduced to a
certain range.
In addition to the frequency response of the room with
rectangular cross-sections, another important parameter
is reverberation time (RT). Frequency response of the
room and RT are two parameters that determine sound
quality of the room. The main aim of this study is to
show how the differences in RT duration change in the
sound fields. In the study, by determining rectangular
cross-sections with dissimilar volumes and by coating
the room surfaces by materials with diverse absorption
coefficients, RT results of the spaces are interpreted.
By employing this method, to observe the RT changes due
to the volumetric and absorbency differences is intended.
After having the RT results, the best sound fields are
tried to be determined in terms of speech and music.
Baºa Don
Heather PETERS
shejori@yahoo.com
A SEMIOTIC UNDERSTANDING OF THE IMMIGRANT EXPERIENCE AS
REPRESENTED IN THE NOSTALGIA OF HOMELAND MUSIC FROM
FORMER YUGOSLAVIA
Music as a background to the activities of daily life is
a phenomenon facilitated by electronic reproduction.
When people move from their homeland, they may search
for a familiar background by which to re-establish their
ethnic identity and selfhood in the face of displacement
and alienation. In the controllable setting of the home,
immigrants often turn to music from the homeland in
order to construct a familiar environment. Their choice
of music can be extremely revelatory. My presentation
examines from a semiotic perspective the prolific
internet downloading and collecting of “homeland music”
by women from former Yugoslavia, who have recently
immigrated to Canada. The theme of nostalgija
(nostalgia) is predominant at various levels in their
selection of repertoire across musical genres. Based on
a framework of Greimas’ “Lexicon of Nostalgia” and the
work of several other theorists, this discussion
explores the interplay of semantic fields inherent in
the cause and coping process of nostalgia as an
idealized past subsumes the painful present. A few songs
popular to the Yugoslavian community of Stoney Creek,
Ontario will be represented to demonstrate the
significance in relationships between music, culture and
the immigrant experience regarding both individual and
collective identities. The home computer is considered
in its iconic role as a connection between the past and
present in collecting music. Judging by the interactive
communication between globally dispersed music listeners
of the “Yugoslavian” virtual community, it is proposed
that the habits of this specific diasporic community in
Ontario are representative of a broader global
phenomenon.
John G. PLEMMENOS - Ionian Univerity
jplemmenos@hotmail.com
SEXUAL AMBIGUITY IN GREEK MUSIC DURING THE OTTOMAN
PERIOD: THE CASE OF CHRYSANDOS OF MADYTA (1832)
This paper concentrates on the
perceptions of the Ottoman makam by the Phanariots
musicians and composers of 18th-century Istanbul. In the
first half of the century, the Phanariots produced two
treatises, where they compare the Ottoman makams with
their eight echoi of the so-called Byzantine
ecclesiastical music. The authors were Panagiotes
Chalatzoglou, Precentor of the Greek Ecumenical
Patriarchate, and Kyrillos, Bishop of Marmara. The
comparison shows some points of divergence from the
typical Ottoman makam concept and an attempt to adapt
Ottoman principles to the Greek echoi. Moreover, the
paper argues that Chalatzoglou’s treatise is an
adaptation of Cantemir’s missing treatise on the same
theme. On a more practical level, Phanariots applied the
makam concept to their own compositions using Greek
lyrics and Ottoman usuls (rhytmical units). There, they
attempted to combine the Ottoman makams with particular
dromoi of the Greek folk song. A case in point is Petros
of Peloponnese, Chorister of the Greek Patriarchate of
Istanbul, who produced 100 works of this sort. The paper
explores the rules of the Phanariot adaptation of the
Ottoman makam, and paves the way for the use of makam in
Greek popular song of the 19th and the 20th century.
Robert REIGLE - Istanbul Teknik Universitesi
reigle@usa.net
THE MEANING OF SOUND
Basic terms used in music discourse
often appear without questioning or definition, as in
the case of "representation" and "meaning," both lacking
entries in The New Grove. In this paper I discuss the
meaning of meaning, and present some ideas about the
meaning of sounds that, although simple, may offer a
useful framework for more detailed or site-specific
discussions concerning musical representation.
Representation is intimately connected with meaning. In
fact, meaning means association of some sort--the action
of re-presenting, re-thinking, and ultimately
re-perceiving, in a hermeneutic spiral. My discussion of
meaning serves as a prelude to an analysis of a primary
component of aggregate musical meaning, namely sounds.
We can apply a particular concept of meaning to music,
but such discussions should reflect an awareness of the
meanings of music's basic building blocks. One of the
most important components of music is sound. How does
the meaning of one sound affect the meaning of a piece
of music? How might we imagine the vast number of
associations with myriad sounds, developed over one's
lifetime, from the voices and music heard in the womb
until the sounds we hear at this moment?
To answer these questions, I present a model of the
types of associations that constitute meaning, and
relate the model to heard sound. I consider some of the
common musical gestures that shape our soundscape, and
conclude with an illustration of the ascent metaphor as
used by Giacinto Scelsi and Taiwanese Bunun singers.
Gordon ROSS - York University
gross@yorku.ca
UNIVERSALITY AND RECEPTION IN
SHANIA TWAIN’S UP!
In 2002 Shania Twain released Up!, her third album
produced by husband Robert “Mutt” Lange. Up! is unique
in popular music because the album was produced in three
different styles that were released simultaneously: a
rock version, a country version, and a third dubbed the
world beat or international version. North American
audiences received the rock and country versions while
the rest of the world was treated to the rock and world
beat ones. The CD package comes with two CDs, both rock
and country or rock and world beat depending on the
geographic location. A brilliant marketing move, the
resulting versions catapulted the CD to the top of the
charts with Up! selling millions of copies worldwide.
In order to create the three versions of Up!, the use of
Eastern rhythms and sounds, along with electronic beats,
and traditional instruments like pedal steel and fiddle,
raises questions of ownership and authenticity. This
paper will examine these questions with regard to the
role of the recording studio, appropriation, marketing
strategies, and how these pertain to the reception of
the album. With this album Shania and producer/husband
Lange are attempting the ultimate in pop music
universality – albeit by artificial means. The choices
of beats, tempos, instruments, etc. reinforces this
universality, yet at the same time, it maps
disposability on the music by subsuming emotion and
meaning in favour of marketing and promotion. As a
result, the widespread appeal so carefully constructed
with the assistance of studio gimmicks and effects does
not necessarily achieve the goal.
Baºa Don
Matthew J. SANSOM - University of Surrey
m.sansom@surrey.ac.uk
THE CONSTRUCTION AND REPRESENTATION OF IDENTITY WITHIN
FREELY IMPROVISED MUSIC
Drawing on qualitative analytic
studies of improvising musicians this paper discusses
ways in which the construction and representation of
self-identity can be observed in improvisational
practice. As a contribution to the now well-established
challenge to musicology engendered by post-structuralist
and post-modern thought, it explores musical meaning’s
ontological significance through an analysis of the
dialectical processes apparent in musical experience.
Demonstrating a connection with processes that serve to
define the self, as expressed in social theory and
psychotherapeutic models, it becomes possible to better
understand music, in particular creative musical
experience, as a carrier of identity. As an alternative
to a more structuralist semiotic agenda, this paper’s
epistemological orientation seeks musical meaning in the
experienced dynamics of the encounter. As such, it is a
phenomenological and interpretive analysis that views
musical experience as meaning-making activity in which,
following Kristeva, the subject is simultaneous made and
unmade. This paper gives examples of how this making and
unmaking serves in the construction and representation
of self-identity within the meaning-making processes of
freely improvising musicians, and from there to offer
some conclusions about meaning in musical experience
more broadly defined.
Becky SHEPHERD - University of New South Wales Australia
rebecca.shepherd@student.unsw.edu.au
GLOBALIZATION AND
COUNTRY MUSIC: TRANSNATIONAL REPRESENTATIONS
The discursive trajectories of country music and
globalisation appear contradictory. Yet despite these
apparently opposing discursive trajectories, it is
argued that country music has always been a part of a
globalizing culture. Country music appears to be a genre
built on nostalgic sentiment – it reminisces about
simplicity. Conversely, globalisation claims to be
progressive and forward thinking, looking for that which
is most profitable and productive for the expansion of
the global economy. The wider and more rapid movement of
people, progression in technology, and the mass
commodity culture of modernity, all of which are central
to globalization, have also enabled new forms of popular
music to exist within transnational spaces, creating and
re-creating themselves in the cultural melange of the
globalized world. Country music in the twenty-first
century is now one of the highest selling genres of
popular music in the United States, and boasts a
comparable following in Australia, New Zealand and the
UK. In the twenty-first century the accelerated
distribution of media flows, the attraction of mass
commodity culture, and the construction of the
cosmopolitan individual have all contributed to the
global success of this popular musical style, but they
also challenge both the discursive traditionalism of
country music, and, in turn, its claims to authenticity.
This paper suggests that country music is a genre that
exemplifies the transnational nature of popular music.
It discusses the localisation and re-contextualization
of country music into Australian culture by analysing
ethnographic data drawn from semi-rural communities in
the state of New South Wales, situated on the eastern
side of the Australian coastline.
Farhad SHIDFAR - Istanbul Teknik
Universitesi
farhadshidfar@mail.com
PSYCHOLOGICALLY ANALYSIS OF GAY MUSICIANS IN TURKEY
In order to launch a research of Gays and their
performed music in various Bars and Night clubs in
Istanbul, Turkey, I managed a few interviews from some
gays, analyzing their life characteristics, their
relationship with music, a spot-light on their
performance and stage characteristics, and finally came
up with analyzing their private lives, searching the
leading effects and causes, which had been derived from
their psychology and eventually their behaviors. During
this analysis I took advantage of Freud’s theory and
tried to make an amalgam between Gay’s music in turkey
and the discussions of ‘’id’’, ‘’ego’’, ‘’superego’’ and
‘’Defense mechanisms’’ of Sigmund Freud’s theory,
focusing on Gay’s music performance and looking for the
roots of differences and distinctions at their
performance, in their inside world and what actually
makes them be successful in performing music as compared
with normal non-gay singers in the Music Markets of
Istanbul.
I tried to disclose the role of Turkish culture and
traditions and religion of Islam in shaping the gay
musician’s mental reaction and the function of their
defense mechanisms and finally the reasons of
popularization of gay musicians in Turkey.
Ano
SIRPPINIEMI - University of Helsinki, Finland
ano.sirppiniemi@helsinki.fi
“THE SOUND OF REASON – WEB COMMUNITIES OF MUSIC
SOFTWARE USERS AS SMALL SCALE TECHNOCULTURES”
Propellerhead Reason is a commercial music production
software that is used by tens of thousands of musicians
all over the world. The software has given rise to an
international, web-based sub-culture, with a number of
music-making related activities. In my dissertation
project, I’ve studied two large web communities
maintained by the users of Reason (www.reasonstation.net
,
www.reasonfreaks.com ), using mainly web
surveys and interviews.
Following Lysloff and Gay’s (2003) use of the term
“technoculture” by Andrew Ross, I propose that the users
of one music production software, that communicate with
each other using mediated texts and share music over the
Internet, can be viewed as a small-scale musical
technoculture. In other words, I’m interested in the
ways that the users of music software use media and
music technology for their own needs, the meanings they
attach to the technology, and the roles that the user
web communities play in structuring and producing these
meanings.
According to Théberge (1997), music making practices
have since the 1980’s become more and more aligned with
the consumption practices of music technology. In my
project, I’ve studied online sites of consumption and
music making, consisting of the tools, media
and active human agents that together form these
sites. The users of Propellerhead Reason are actively
producing music culture, but at the same time also
consuming music and media technology. The fact that web
communities like the ones I’ve studied can function
globally, with no restrictions of time and place, also
gives them some distinct characteristics compared to
traditional local music communities.
In this paper I will outline my theoretical background
for studying online technocultures of music and present
some preliminary conclusions about the web communities
of users of Propellerhead Reason, based on several web
surveys and interviews with Reason users around the
world.
Thomas SOLOMON - University of Bergen
thomas.solomon@grieg.uib.no
THE LOCAL AND THE GLOBAL IN TURKISH RAP MUSIC - A VIEW
FROM ISTANBUL
Rap music and hip-hop culture, with
their simultaneous explicit emphasis on constructing
both local identities and a shared international
"hip-hop nation," are an ideal field for the
investigation of relationships between the local and the
global in popular culture. In this paper I explore some
of the ways participants in Turkish hip-hop youth
culture draw on the globally circulating musical style
of rap, and hip-hop youth culture more generally, to
create both local and trans-local identities. Based on
ethnographic research on hip-hop youth culture in
Istanbul, the paper explores how local uses of rap and
hip-hop have implications for the study of how people
make meaning with mediated musics and challenge some
common assumptions about how globally circulating musics
are received and used outside their points of origin in
the so-called "center" or "core" countries of
production. Among issues the paper will address are:
imaginations of local identities in Turkish rap, with
the rivalry between Istanbul and Berlin used as a case
study; the place of trans-local hip-hop
"culture-brokers" who move between Turkey and other
countries, especially Germany, in facilitating
communication between different local scenes; and the
role of the Internet and other media in creating a
feeling of shared membership in an international
"Turkish hip-hop movement." Combining ethnographic field
work with a cultural studies approach to the texts of
public culture, I also discuss specific Turkish rap
recordings, analyzing lyrics and musical style to
explore how musicians emplace rap within local
landscapes.
Baºa Don
Berrak TARANC - Ege Universitesi
rtraranc@yahoo.com
THE USAGE OF THE MUSIC IN THE MEDITERRANEAN CINEMA AS AN
INDICATOR OF CULTURAL IDENTITY IN THE CONTEXT OF
REPRESENTATION AND ANALYSIS BY ILLUSTRATIVE FILMS
In the paper, analysis of visual and audio meaning and
expression relating to cultural representation will be
discussed on the illustrative films determined among
various cinemas from Mediterranean countries. The films
be analyzed as follows: the director identifies the
mother character with homeland and symbolizes a
reflection of own cultural identity by the ud at the
final scene in the “Western Beirut” from the Lebanon
cinema. The usage of the ud and the bendir together to
portray the customs and the traditions is observed in
“Child of the Roofs” from Tunisia. The band of the
Macedonian migrants is used to denote the cultural
background of the main character and that Ayten is a
woman settled in Ayvalik after the immigration in a
Turkish film called “A Wedding Tale”. Discussing
revolutionist identity of the musicians migrated from
Izmir and their leading roles in the changes through the
history of Greece in “Crying Meadow” from Greece.
With the analysis examples, the qualification of the
representation of the music will be talked about in the
common identity of the Mediterranean cinema.
Seher TETIK - Istanbul Teknik Universitesi
sehertetik@hotmail.com
REPRESENTATION IN THE COMPOSITIONS OF MURAD IV
Turkish music history covers a wide
part of history extending to the beginning of the
Turkish history. Numerous musicologists carry the same
mission in their studies executed by different
approaches. This mission is certainly about enlightening
the Turkish music from every point of view. Being the
subject too broad, however, does not allow evaluating
all the sources adequately and therefore the researches
in terms of the qualifying the obtained data
sufficiently have to focus on specific topics.
Drawn on this idea, the life, authority, leadership,
interest in music and composership of Sultan Murad IV
reigned Ottoman Empire in the second quarter of the 17th
century have a great influence on the continuity of the
Turkish music culture. It is known that lots of
musicians related to both sacred and secular music was
educated in that period. The works composed by these
musicians are significant due to creating a model for
this period and representing this period. Since
examining each of the compositions reached up today by
concerning their elements makam, usul and lyrics is very
troublesome and long lasting process, discussing them
one by one would be more reliable.
Because of the above mentioned reasons, we will reveal
what they represent in music by analyzing the makam,
usul, lyrics and musical phrases found in the works
composed by Murad IV contributing in Turkish music with
his life and compositions.
Ahmed TOHUMCU -
Istanbul Teknik Universitesi
atohumcu2000@yahoo.com
REPRESENTING A SPACE:
TAVERN
The genre called as
“Taverna Muzigi” (music of tavern) and very popular in
the popular music market in Turkiye in 1970’s and 1980’s
is defined and classified by musicologists and scholars
as a version of “arabesk” music born before it and
becoming popular at the same time. This term, however,
does not overlap with the simply articulated concepts
such as “sub branch of arabesk” or “soft arabesk” both
terminologically and existentially. Moreover, it is not
a musical genre but a musical sector representing a
particular place.
The term taverna stemming from “taberna” that means hut
and shop in Latin and joins Turkish through Italian is a
name of place generally given to bars, pubs or
restaurants where music is played and its origin extends
back to Roman period. The taverns that were run by
Ottoman Greeks (Phanariots) in Istanbul, and in fact the
life of which maintained from the Byzantine period and
lasted for a long time after the conquest in 1453,
started to be closed after the exchange of minority
populations due to the result of the Turkiye-Greece War
ending in 1922 and moved to Greece while decreasing in
number in Istanbul as a result of the 6-7 September
Events in 1955. This places abandoned by the Ottoman
Greeks started to be substituted by the Turkish
population in 1970’s. These taverns where the music
including Rembetiko and those called music of Yunan (Greek),
Grek (ancient Greek) or Rum (Ottoman Greek) was
performed have carried on their musical content in
Turkiye and Greece until this period. The taverns filled
by Turkish population, on the other hand, have changed
their musical style along with the changing identity.
The Rembetiko orchestras having female musicians as well
has been replaced by male singers who both sings and
plays at first the piano and then the electronic
keyboard by himself. This figure caught on by the tavern
owners because its lower cost than a music group of five
or six became popular also among the audience.
The permanent common feature of this music performed in
the taverns of 1970’s and 1980’s is this figure playing
and singing by himself and the lyrics, almost all of
which having love theme. In addition, that the spatial
features like applauses, dialogues between the artist
and the audience are put in the albums, so that the
customers can live the ambiance of the place everywhere
is another significant feature emphasizing the relation
between the space and the music. Diverse styles that
partially or completely interacted with the Turkish
music and arabesk as well as blues, tango, pop etc. and
rather identified with the artist individually arose as
other genres in popular music market of Turkiye in that
period.
As a result, it will be useful to perceive the concept
“taverna” as a sector where alcoholic beverages, food
and entertainment are presented together in a
distinctive space rather calling it a musical genre or a
kind of arabesk, for classification of genres and
related musical codes.
Zeynep Gonca Girgin TOHUMCU - Istanbul Teknik
Universitesi
ayalgu2000@yahoo.com
VITAL INFLUENCES OF A MINORITY ON A MAJORITY
My fieldwork focused on The Romany
Orchestra of Ahirkapi, the first and only neighborhood
Roman orchestra established in Turkey in 2000. The
common social background and similar musical styles of
Romanies in Turkey, produce a form of being Roman that
differs substantially from Romanness in other countries.
My fieldwork illustrates how Roman maintained their life
style despite outside pressures to adopt behaviors of
the non-Roman communities. The natural disposition of
the Roman in Turkey, such as active temperament,
darker-skin, and an attitude of being for today without
regard for the future, shape Romanies’ body language,
life and music. The ethos within the Romany community
also affects non-Romany Turks, and illustrates how a
minority may dominate on a majority.
During two months, I investigated and
tried to understand these interactions through the
method of learning by doing, as a dancer. Firstly, the
social position of the Romany community in Turkey, which
includes their natural identities, argumentative nature
and emotional characteristics does not only derive from
its genetic codes but also from its cultural and
historical background. All of them reflect a way of
defending and proving the identity of the Romany
community in Turkey. For instance, one of the orchestra
members says; “We are different from other Romanies, we
came from Greece, so we are European” Secondly, the
musical style of the orchestra is more natural than that
of other Istanbul Romanies. Thirdly, the Romany
community in Turkey has a powerful influence on the
popular music of Istanbul which is also being produced,
supported, and consumed by Romanies. In particular, the
change in fasil form ( a performance style of Classical
Turkish Music) over the last 60 years is an example of
that.
This study emphasizes “being Romany”
or “being Romany musician” in Turkey. In this context,
the question of how and why the Gypsy community in
Turkey (almost 200,000), as a minority, is dominated on
the majority view of popular music (over 10,000,000) in
Istanbul, will be articulated.
Atilla Coºkun TOKSOY -
Istanbul Teknik Universitesi
toksoy@itu.edu.tr
ELEMENTARY MUSIC
MAKING: INSTRUCTING MUSIC AND MOVEMENT IN THE FRAMEWORK
OF ORFF APPROACH
Music Education as a
branch of art education aims to train people with
aesthetic understanding, to develop their expression
ability, and to improve their creativity and education
skills. Contemporary music education may be defined as
the learning process where the musical potential and
creativity individual are revealed and improved. This
process needs a learning environment where an active
participation of the children oriented into creativity
is provided.
Elementary Music Education is valid for all stages of
human life, i.e. from the infancy to adulthood. That the
pedagogues in 20th century, like Dalcroze, Kodaly, Orff
and Suzuki have manifested the principles made changes
and developments in elementary music education. Orff
among these pedagogues proposes Orff-Schulwerk, an
understanding of elementary music education that is the
most prevalent-known-applied-adopted one around the
world, by defining the fact “elementary” in elementary
music education within distinctive principles and
operation.
The concept, “Elementary Music Making” lies in the heart
of the approach of Orff. This concept brings expansions
about meeting the multifaceted requirements of human and
self expression. Thus, “reaching to the source of the
physical and spiritual existence in accordance with the
nature of the human himself” is aimed. This effort
results in interpreting the music education idea as
“education with music” in this sense and above all
intends to “bring up human”.
In the paper, the concept “elementary music making”
determining the music education understanding and method
of Orff will be explained and opportunities offered to
music education will be discussed by dealing with the
Orff’s method of music and movement education in a
general manner.
Ayºegul Kostak TOKSOY - Istanbul Teknik Universitesi
a_kostak@hotmail.com
COMPOSER AND THE INSTRUMENT: “THE SYMBOLS OF
INSTRUMENTATION AND NOTATION FOR THE KANUN”
Composing music for an instrument – whether as a solo
instrument or as a part of the orchestra – brings some
important responsibilities to the composer, because the
technical features and facilities of the instrument used
in that music would influence the creativity of the
composer. Therefore the composer must very well know the
instrument. Moreover, while speaking the technical
facilities, to compose music that improves the
instrument technically must be one of the ideals of the
composer.
Special studies about instrumental music in Turkish
music have been started at the beginning of the 20th
century. Therefore, instrumentation studies concerning
Turkish music instruments are still constituted. Thus,
instrumentation studies done for each Turkish music
instrument one by one will present them technically,
improve them and appear in the music literature as
encouraging and enthusiastic studies for those who do
not know them but keen to compose for these instruments.
In this paper, both the structure and the technical
features the kanun will be discussed regarding its
instrumentation; besides, some information and
suggestions about the symbolic indications in the
notation system for the ornamentations and sounds with
effect character that have a special function in the
performance of the kanun will be presented.
TSAI Tsan-huang - Nanhua University
thtsai@mail.nhu.edu.tw
CAN A MUSICAL INSTRUMENT BE MORE THAN AN OBJECT USED TO
PRODUCE MUSICAL NOTES? ORIGINS, TERMINOLOGIES, MEANINGS,
AND SYMBOLS OF THE QIN
A musical instrument is undoubtedly an object used to
produce musical notes, but at the same time it can be
regarded as being representative of one’s musical
culture. This is because people generate meanings in
order to understand themselves and the world, and they
often attach these meanings to material objects.
This is paper which deals with the ‘meaning’ or
‘metaphors’ associated with a qin, Chinese
seven-stringed zither, although these meanings are often
unclear and used indirectly. I propose to explain the
kind of meanings, terminologies, and associated symbols
which have been attached to this particular instrument
metaphorically.
This paper challenges existing studies which present a
stable and direct link between the metaphoric/symbolic
terms and their ‘actual’ meanings. Instead, this paper
suggests that it important not only to examine the
process and dynamic of the metaphors/meanings and how
they have been applied to musical instruments, but also
to consider their conceptual representations and to what
purpose these metaphors/meanings are included.
By focusing on the idea of ‘metaphor’ and its conceptual
representation, the case of the qin can show us that the
metaphors/meanings associated with this particular
instrument can vary not only across different boundaries
of time and space, but that the meanings can also be
very diverse within the same time frame and among the
same category of people, through individual
re-interpretation of the meanings which have existed
since ancient times.
Ilknur TUNCDEMIR
ilktuncdemir@yahoo.com
A PIONEER IN POLYPHONIC MUSIC IN THE FIRST YEARS OF THE
REPUBLICAN ERA: FERHUNDE ERKIN
While Republic of Turkiye was
established by the leadership of Ataturk as a
distinctive, modern and nation state, new principles,
new goals and new methods were determined. According to
these goals, music culture and education was also
rearranged.
“Education opportunities in other countries” were
utilized all the time to improve Turkish music culture
and music education in the Republican era. The most well-known
pioneers of in other countries educated musicians of the
Republic are the “Turkish Fives”. The first female
artist, on the other hand, is Ferhunde Erkin who was
sent to Leipzig Conservatory for the piano training in
1928.
After Ferhunde Erkin completed her training abroad, she
started to work as a piano teacher in “Musiki Muallim
Mektebi” (School of Music Teacher) being the core of
Ankara State Conservatory after the request of Ataturk.
In addition to her service in the conservatory between
1931 and 1968, she also succeeded to perform almost 30
piano concertos for the first time in Turkiye. The
artist serving to polyphonic Turkish music culture to a
great degree included the polyphonic works of her spouse
(Ulvi Cemal Erkin) and other Turkish composers to the
concerts, thus she contributed to the promotion of these
works in Turkiye and also abroad.
Baºa Don
Aytug ULGEN - Baºkent Universitesi
ulgen@baskent.edu.tr
ON SIMULATION AND ART
The
most important theory of the 20th century is certainly
the ‘the theory of simulation’ of Baudrillard.
Simulation appearing towards the end of the 1970’s and
becoming a theory on its own in the first half of the
80’s has perhaps the most shocking influence in the
field of humanities. In its simplest sense, simulation
is a kind of drape covered on the reality in terms of
the function anticipated by Baudrillard. All the values
– ideological, political, philosophical and cultural –
caused the West to be a reference for itself and the
rest of the world. To talk about the West is no more
possible as a project. Here, simulation is the universe
where this terminated civilization tries to hide. It
possesses all the features of the reality but it is not
real. And what is interesting is that the simulation is
always more impressive than the real. Contemporary art
is in an explosion / diffusion, almost everlasting
expansion state as in other domains of the Western
culture. This scene recalls a question willy-nilly. This
is the question indicating to the dimension articulating
to the explanation process of the nature of the
contemporary art: Or does all the art with its so much
dynamism transform to a simulation? Contemporary work of
art has a content destroying the future dimension and
reducing everything to the present. Assuming the future
dimension non-existent and iconization of today are the
most explicit results of the articulating the
contemporary art to industrialism and functionalism.
Contemporary art, exactly therefore, is not interested
in the social project. Postmodernity is above all an
enormous consumption culture and postmodern art is a
part of it indispensably. At this point, the consumption
lost its significance and was replaced by the ideology.
When we look back, we see that all the revolutionary
reforms of the music area remained at least fifty years
back. Repeating the fifty year material themselves in
this way matches exactly to the ideology of postmodern
production. The production transforms into reproduction,
since pausing for the West means refusing itself.
Baºa Don
Rachel Beckles WILLSON - University of London
R.BecklesWillson@rhul.ac.uk
REPRESENTING HOME, REPRESENTING EXILE
Music, when combined with a text in a setting, is often
understood (rather simplistically) as a representation
of - or mere vehicle for - that text's conceptual
content. Meanwhile language is generally more associated
with conceptualisation and argument than representation.
What I shall argue in this paper, however, is that
musical text setting may have more complex
interpretative possibilities when language itself can be
understood as representation.
My argument is based around musical works of the 1980s
written by contemporary Hungarian composers, émigré
Gyorgy Ligeti (b.1923) and the (then) home resident
Gyorgy Kurtág (b.1926). During this decade in their
politically-divided lives, Ligeti 'returned' to
Hungarian text setting after a long gap (Magyar Etudok
for choir), and Kurtág 'departed' into Russian and
German (Messages of the Late Miss R. V. Troussova op.17,
and Kafka Fragments op.25, among others).
The significance that language had for Hungarian
composers of their generation is profound: educational
principles from the 1940s onwards were based on creating
compositions from the union of music with the mother
tongue's inherent prosody, metric character and
intonation. Language, then, represented both a
compositional armature, and a national 'home'. Examining
their later works from this perspective allows us to
conceive their linguistic shifts as representations of
movement around 'home'. Ligeti did not physically return
to Hungary, but revisited his mother tongue; Kurtág did
not leave Hungary, but investigated new languages. In
each work, music enters a dialogue with language that is
framed by the fact that those languages represent travel
in psychic geography. The musical consequences are
manifold.
Irving WOLTHER - Hanover University
wolther@phonos.de
THE EUROVISION SONG CONTEST
A MUSICAL COMPETITION AS A MEANS FOR NATIONAL
REPRESENTATION
The Eurovision Song Contest (ESC) is
the biggest competition for popular music in the world,
and with more than 100 million viewers (EBU, 2004) the
most successful entertaining program in Europe.
Originally the ESC was created to have an annual
opportunity for the na-tional European broadcasters to
cooperate on a common project. On this purpose, a
com-poser’s competition based on the “Festival della
Canzone Italiana” (Festival di Sanremo) was projected
and broadcast for the first time in 1956. Though the
contest was intended to pro-mote the creation of new
songs in the field of popular music the interests of the
national music industries were not explicitly taken into
account then. It took some years until the economic
potential of the contest was discovered by the record
companies, but the ESC was and still is in first order a
media event inscened by the member broadcasters of the
European Broadcast-ing Union (EBU) and is only in second
place intended to support the national music
indus-tries. This becomes obvious by the fact that most
of the participating entries are never re-leased
officially for purchase by the public.
Ozan YARMAN - İstanbul Teknik Üniversitesi
ozanyarman@superonline.com
Türk Makam Müziğinde, Kadim bir Çalgı Sayılan Ney Esas
Alınarak, Kantemir, Ebced ve Hamparsum Notalarının Batı
Dizek Yazımında Doğru İfade Edilmesi Üzerine
Türk Makam Müziğinin Osmanlı
Kültüründen devralınan köklü bir sanat mirası olduğu
bilinciyle, bu seçkin müzik türüne mahsus “perdeler
sisteminin” ve “tarihsel notasyonların”, konuyla
doğrudan ilgili kuramsal baºyapıtlar aracılığıyla
açıklanabilmesi ve tutarlı bir eğitim metodolojisine
raptedilebilmesi son derece önemlidir. Bugüne kadar
çokça ihmal edilmiº olan bu husus, Batı Dizek yazımına
geçiºte – gerek baºlı baºına bir müzik dili olan Batı
notasının tahrif edilmesi, gerek Makam Müziğinin anadili
olan perdeler sisteminin sakat yorumlanması nedenleriyle
– Makam Müziği eğitiminde içinden çıkılamaz kargaºaların
azmasına vesile yaratmaktadır. Oysa, Kantemir, Ebced ve
Hamparsum adlı meºhur huruf-notalar etraflıca
irdelenmeden ve bunların dayandığı “perdeler sistemi”
karºılaºtırmalı olarak incelenmeden, Türk Makam
Müziğinin dokusu sağlıklı olarak anlaºılamaz. “Diyapazon
rezaleti”, “Ahenk karmaºası”, “perde-frekans
ikilemleri”, “Pithagorsal beºliler döngüsündeki arıza
iºaretlerinin geliºi-güzel diziliºi”, “icra edilen asıl
aralıkların bir türlü belirlenememesi”, “kadim bir çalgı
sayılan Ney dahil tüm sazlara – üstelik yanlıº ºekilde –
key transposition yaptırılması” ve “partitür yazma
alıºkanlığının hala daha edinilememesi” gibi nice
olumsuzluk, Makam Müziği eğitimine sekte vurmakta, bu
alanda virtüözlerin yetiºmesini baltalamaktadır.
Bildirimiz, yukarıda zikredilen sorunlara odaklanmak
suretiyle, bu olumsuzlukları analitik bir düzlemde
masaya yatırıp Makam Müziği kuramında ele alınması
gereken acil düzeltmeleri ve değiºiklikleri gündeme
getirecektir.
Ibrahim Yavuz YUKSELSIN - Dokuz Eylul Universitesi
iyavuz@deu.edu.tr
‘ILLE DE ROMAN OLSUN’: TONAL PRESENTATION OF POPULAR
MUSIC AND CULTURAL IDENTITY
That they earn their living by music
and have a strategy of continuing a certain life
overlapping with “tradesman’s calling” appears as a
common feature of the Gypsy communities from all over
the world. Music making just like other professional
groups (blacksmithery, being tinner, collecting etc.)
seems as a distinctive feature of Roma communities in
Turkiye and develops in an ancestral structural.
“Calgici Romanlari” (literary instrumentalist Roma
people) indicates both an ethnicity criterion and a
musicianship model that associates the music making
mainly with playing instrument. This discriminating
feature allows them to play a dominant role in the
musical practices participated in by Roma musicians both
in the rural and urban settings and to take part as the
essential actors of some musical styles.
The dominant role of the Roma people in the urban
environment from the first years on of formation of
popular music in Turkiye around the pivot of market
music/traditional art music enables us to see them as
performers shaping/creating some dynamics in the
background of today’s Turkish popular music. In this
context, the roles of the Roma musicians in the music
industry, as tonal coder in the Turkish popular music,
especially in the production stages of popular genres/styles
such as arabesk and fantezi having the tonal
characteristics related to traditional Turkish art music,
and related musicianship strategies developed as a
common cultural behavior are the discussions of this
paper.
To understand the important role of Roma musicians in
the backstage of the Turkish pop music rests on how they
conceptualize the actions including tonal codes of own
cultural identity and the musicianship strategies in the
musical activities other than these actions.
The tonal presentation of the Roma cultural identity
will be explored by analyzing “Roman havasi” (literary
Roma air/tune), kind of dance music, created by Roma
musicians as an expression of own cultural identity.
This exploration allows us to understand both the
musical composition of Roma cultural identity in the
musical creation process and the musicianship strategies
in the other popular music genres/styles that seem not
directly related to cultural identity of the Roma
musicians at first sight.
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