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Epistemic Transmission and Originality in Greek-Karamanlidika Publications Related to Makam Music in the 19th Century Istanbul 19 世纪伊斯坦布尔与马卡姆音乐有关的希腊语-卡拉曼利迪卡语出版物中的知识传承和原创性

IF 0.2

Musicologist Pub Date : 2023-06-13 DOI: 10.33906/musicologist.1271019

Eylül Doğan, Gözde ÇOLAKOĞLU SARI

{"title":"Epistemic Transmission and Originality in Greek-Karamanlidika Publications Related to Makam Music in the 19th Century Istanbul","authors":"Eylül Doğan, Gözde ÇOLAKOĞLU SARI","doi":"10.33906/musicologist.1271019","DOIUrl":"https://doi.org/10.33906/musicologist.1271019","url":null,"abstract":"Ottoman Istanbul had retained its position as the cultural center of the Greek community for centuries. During this period, Greeks interacted with multicultural societies of the city. Their music culture and interests were also influenced by social relations. As a result, they recorded some Ottoman musical pieces in various manuscripts from the 16th to the 20th century. In the 19th century, Greek musicians, mainly cantors started to publish a series of works on Ottoman repertoire and theory. First, ‘Euterpi’ (1830) was published in Istanbul. Then, a number of publications emerged until 1909 when ‘O Rithmographos’, the last theoretical work of the time, was published. At that time, both the reform of the Orthodox Church (1814) under the influence of modernism and the spread of the printing press facilitated the distribution of such books. In order to write makam music with an efficient technique, they brought some theoretical principles of European, Ottoman and church music to their writing culture. Since these theoretical adaptations were the result of both technical needs and cultural tendencies, the Greeks cultivated an epistemic originality in terms of makam theory and narration of the tradition. Moreover, this was the reason that the symbiotic knowledge came out in the aforementioned sources. On the grounds of this case, this study aims to demonstrate the symbiosis and originality by exemplifying the musical knowledge in the Greek-Karamanlidika publications. In this respect, sources will be evaluated in terms of the use of notation, terminology, theory (makam and usûl), repertoire and narration of the makam tradition. The essential target of the study is to carry out a musicological research in those publications considering the multicultural character of the 19th century Istanbul.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"183 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139370173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Folklore Issue of Contemporary Author’s Songs in Georgian Folk Music 格鲁吉亚民族音乐中当代作者歌曲的民俗学问题

IF 0.2

Musicologist Pub Date : 2022-12-26 DOI: 10.33906/musicologist.1079964

Sophiko Kotri̇kadze

{"title":"The Folklore Issue of Contemporary Author’s Songs in Georgian Folk Music","authors":"Sophiko Kotri̇kadze","doi":"10.33906/musicologist.1079964","DOIUrl":"https://doi.org/10.33906/musicologist.1079964","url":null,"abstract":"In today’s Georgia most of the songs by contemporary authors, which are referred to as “folk” have little to do with traditional musical regularities; the examples, disseminated as specific, established variants are also called \"folk\". Modernized instruments created in the 20th century are also regarded as folk. It is strange that their consideration as folk examples is often acceptable to their authors. The article aims to study contemporary author’s songs and to reveal their connection with the regularities of folk musical language. \u0000In the modern era the author’s songs on folklore motives have not yet been given name in science. Georgian researchers refer to such examples as “para folklore”, “modernized folklore” and “pop-folk”. In all three definitions they are called folklore. The difference between them is shown only by the pre word. \u0000The article poses specific problems and shows possible solutions to them, for example: what approximates contemporary author’s songs with folk tradition? Why are they considered folk? What are their characteristic musical features? What factor contributes to the popularity of these examples? Also, basing on the musical analysis and personal interviews, discussed is folk character of the repertoire of contemporary author’s song performers (trio “Mandili”, Gogochuri sisters, group “Bani”, Davit Kenchiashvili).","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45679665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

SULAYMĀN BĀḲIRG̲H̲ĀNĪ IN THE CULTURE OF THE VOLGA TATARS: THE PHENOMENON OF THE “BĀḲIRG̲H̲ĀN KITĀBĪ” 伏尔加河鞑靼文化中的SulaymĀn bĀḲirg h ĀnĪ:“bĀḲirg h Ān kitĀbĪ”现象

IF 0.2

Musicologist Pub Date : 2022-12-08 DOI: 10.33906/musicologist.1067931

Guzel Sayfullina

{"title":"SULAYMĀN BĀḲIRG̲H̲ĀNĪ IN THE CULTURE OF THE VOLGA TATARS: THE PHENOMENON OF THE “BĀḲIRG̲H̲ĀN KITĀBĪ”","authors":"Guzel Sayfullina","doi":"10.33906/musicologist.1067931","DOIUrl":"https://doi.org/10.33906/musicologist.1067931","url":null,"abstract":"The name of the Central Asian mystic Sulaymān Bāḳirg̲h̲ānī/Ḥakīm Ata and the literary legacy, attributed to him, were well-known among the Tatar Muslims of the Volga region in Russia till the middle of the 20th century. A representative of the Yasawiya tariqat that in the past was widespread among the Tatars, he was venerated as a saint and as an author of many popular poems. The recitation of these texts became a part of “the book chanting” /kitap köyläp uqu/ tradition. A special place in this repertoire was taken by the Sufi anthology “Bāḳirg̲h̲ān kitābī”, which was repeatedly published in Kazan from 1846. Thanks to these editions before the revolution of 1917, this collection could be found in almost every Tatar house. Till almost the mid of the 20th century texts of this book were recited with tunes called “Bāḳirg̲h̲ān köe”. At present, one can state the disappearance of this tradition in the Tatar environment, as well as the knowledge both about Bāḳirg̲h̲ānī himself and the collection under his name. \u0000The aim of this article is to show the specificity of the perception of the texts ascribed to Bāḳirg̲h̲ānī in Tatar culture and to follow the changes of their interpretation in the Tatar milieu towards the beginning of the 21st century. The study is based on the analysis of little studied textual sources and materials collected in the territory of the Tatarstan Republic on field trips in the 1990-2000s.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46102779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Tuning Systems of Traditional Georgian Singing Determined From a New Corpus of Field Recordings 从一个新的现场录音语料库确定传统格鲁吉亚歌唱的调音系统

IF 0.2

Musicologist Pub Date : 2022-09-01 DOI: 10.33906/musicologist.1068947

F. Scherbaum, Nana Mzhavanadze, Sebastian Rosenzweig, Meinard Müller

{"title":"Tuning Systems of Traditional Georgian Singing Determined From a New Corpus of Field Recordings","authors":"F. Scherbaum, Nana Mzhavanadze, Sebastian Rosenzweig, Meinard Müller","doi":"10.33906/musicologist.1068947","DOIUrl":"https://doi.org/10.33906/musicologist.1068947","url":null,"abstract":"In this study we examine the tonal organization of the 2016 GVM dataset, a newly-created corpus of high-quality multimedia field recordings of traditional Georgian singing (with focus on Svaneti) which we collected during the summer of 2016. Because of the peculiarities of the performance practice of traditional Svan singing (e.g, exhibiting a considerable gradual pitch drift and a non-western tuning system), we developed a new processing pipeline for the computational analysis of non-western polyphonic music which was subsequently used to determine the melodic and harmonic tuning systems for the complete 2016 GVM dataset. In this context, we investigated the stability of the obtained tuning systems from an ensemble-, a song-, and a corpus-related perspective to evaluate under what conditions a single tuning system might be representative for current Svan performance practice. Furthermore, we compared the resulting Svan tuning systems with the tuning systems obtained for the Erkomaishvili dataset (Rosenzweig et al. 2020) in the study by Scherbaum et al. (2020). In comparison to a 12-TET (12-tone-equal-temperament) system, the Erkomaishvili and the Svan tuning systems are surprisingly similar. Both systems show a strong presence of pure fourths (500 cents) and fifths (700 cents), and ‘neutral’ thirds (peaking around 350 cents) as well as ‘neutral’ sixths. In addition, the sizes of the melodic and the harmonic seconds in both tuning system differ systematically from each other, with the size of the harmonic second second (close to 200 cents) being systematically larger than the melodic one (often between 150 and 180 cents). The current results underline the need for new unbiased representation forms for non-western music as they raise serious questions with respect to the practice of transcribing traditional Georgian music into a western notation system in which neither the ‘neutral’ intervals nor the gradual pitch drifts can be appropriately represented.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42158379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

On the Evidence that Confirms the Continuity of Georgian Chant Tradition 论格鲁吉亚圣歌传统延续性的证据

IF 0.2

Musicologist Pub Date : 2022-06-18 DOI: 10.33906/musicologist.1079507

Zaal Tsereteli̇

引用次数: 0

RE-EVALUATING THE ROOTS OF ARABESK MUSIC: GRUP METRONOM 重新评估阿拉伯斯克音乐的根源:群节拍

IF 0.2

Musicologist Pub Date : 2022-05-28 DOI: 10.33906/musicologist.1099343

Serkan Şener, Belma Oğul, Robert F. Reigle

{"title":"RE-EVALUATING THE ROOTS OF ARABESK MUSIC: GRUP METRONOM","authors":"Serkan Şener, Belma Oğul, Robert F. Reigle","doi":"10.33906/musicologist.1099343","DOIUrl":"https://doi.org/10.33906/musicologist.1099343","url":null,"abstract":"Grup Metronom played a leading role in the development of Turkish arabesk music during the 1970s. Delineating the social and musical relationships within the group reveals a new perspective on the blending of genres, challenging the received view of the history of arabesk. Evidence of the sounds resulting from those relationships can be traced in two songs by Grup Metronom, analyzed herein. Based on in-depth interviews with prominent actors who shaped the scene and witnessed the historical process, the article attempts to illuminate how a group of musicians with diverse backgrounds-from makam (both folk and art), jazz, and Western symphonic traditions- interacted, performed, and were perceived by other musicians, in the cultivation of arabesk music. Hence, the proposed narrative challenges the assumption that arabesk music wascreated by a group of marginal musicians, who shared a common cultural ground. The argument is also supported by the musical analysis of selected works -which have been appreciated by studio musicians, arrangers, or music directors- to define musical tendencies and eclectic structures. Text analysis (e.g., lyrics, melodic contour, scale, and form), performance analysis (arrangement, orchestration, vocal and instrumental interpretation, and timbre), and other musical inputs (recording, use of decorative sounds, and mix) constitute most of the stylistic interpretations in the paper. The musical analyses are supported with transcriptions, which aim to exemplify certain points emphasized in text and display arrangements of the performances in unity to provide sources for further studies. The article also attempts to elaborate the issues related with Arabic influence on the arabesk music; and ground some of them through the stories of the actors in the case and analysis of the sonic environment in their products.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42595288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

NEW ADDITIONS TO THE GUITAR FAMILY: Lego and Automatic Microtonal Guitars 吉他家族的新成员：乐高和自动微音吉他

IF 0.2

Musicologist Pub Date : 2022-05-28 DOI: 10.33906/musicologist.1079674

Ruşen CAN ACET, Batuhan Başar, Tolgahan Çoğulu, Atlas Çoğulu, Tony Italia, Selçuk Keser

引用次数: 0

PROCESSUAL FORM IN SUFI DHIKR RITUAL 苏菲仪式的过程形式

IF 0.2

Musicologist Pub Date : 2022-05-27 DOI: 10.33906/musicologist.1014113

Burçin Bahadır Güner

引用次数: 1

INVESTIGATION OF ECONOMIC DIMENSIONS OF CHOIR FESTIVALS-FESTIVITIES IN TERMS OF PARTICIPATING CHOIRS AND ORGANIZATIONS “CORAL TOURISM” 唱诗班节日的经济维度调查——从参与合唱团和组织“珊瑚旅游”的角度来看

IF 0.2

Musicologist Pub Date : 2022-04-08 DOI: 10.33906/musicologist.1000997

Emel Funda Türkmen, Mete Gökçe

{"title":"INVESTIGATION OF ECONOMIC DIMENSIONS OF CHOIR FESTIVALS-FESTIVITIES IN TERMS OF PARTICIPATING CHOIRS AND ORGANIZATIONS “CORAL TOURISM”","authors":"Emel Funda Türkmen, Mete Gökçe","doi":"10.33906/musicologist.1000997","DOIUrl":"https://doi.org/10.33906/musicologist.1000997","url":null,"abstract":"Choirs constitute an important area of music education and play an important role in increasing the artistic, social, and academic quality of societies as well as spreading music education. Choir festivals, in which the works performed in choirs are exhibited, have become widespread in Turkey for the last ten years, and it is observed that the choirs participating in these festivals also participate in various events and festivals abroad. These festivals and events are important for choir members and conductors, as they introduce themselves and provide opportunities for choirs to take the stage outside of their own environment. Choirs from within each country and from all over the world participate in national-international festivals and festivities held in Turkey and in various countries of the world, exhibit their works, and benefit from these activities as a social and touristic trip. \u0000In this research, a study was conducted on the expenditures of 3 choirs and 4 organizations in order to address the economic dimension of choral festivals. In the study, the participation process of the three choirs in the choir’s festival/festivities held in a different city was discussed, and it was tried to determine what kind of expenditures a choir made, based on their expenditures during this participation process. In addition, the expenditures made in the organization of the 4 choir festivals were tried to be revealed and the economic dimensions of the festivals were tried to be exhibited. Thus, it is desired that the choir educators and conductors who will participate in the choir festivals/festivities are informed about financial expenditures and that the executives of the cities where the festival/festivities are held should follow the issue carefully.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43669210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Microtonal Guitar Culture in Turkey 土耳其的微型吉他文化

IF 0.2

Musicologist Pub Date : 2021-11-29 DOI: 10.33906/musicologist.956706

O. Eren, U. Güven

{"title":"Microtonal Guitar Culture in Turkey","authors":"O. Eren, U. Güven","doi":"10.33906/musicologist.956706","DOIUrl":"https://doi.org/10.33906/musicologist.956706","url":null,"abstract":"The main objective of this article is to analyze the development and the contemporary artistic milieu of microtonal guitar culture in Turkey. With a particular focus on the adjustable microtonal guitar developed by Tolgahan Çoğulu, we examined musicians’ experiences and the ways that they relate to this musical instrument. We used qualitative research methods and conducted in-depth interviews with our key informant and adviser Tolgahan Çoğulu as well as eight musicians who specialize in microtonal guitar. We utilized Bennett and Peterson’s definition of “scene” to discuss microtonal guitar culture in Turkey. After briefly presenting the development of guitar music and questioning the nature of its representation in Istanbul, we analyzed the themes that emerged in conversation with the guitar players. We determined that our interviewees, who are educated, enthusiastic and committed musicians, are all influenced by Tolgahan Çoğulu’s efforts to shape the microtonal guitar world and are driven by their own artistic motivations. We found that musicians shared views on the innovative and promising qualities as well as certain live performance-related difficulties of this instrument –including the need to hammer new frets for different tuning systems on stage and the necessity of sharing microtonal guitar music recordings or videos using new media technologies. Although musical pieces in the microtonal guitar repertoire are mainly rooted in Turkish music, many consider this instrument to be an attempt towards overcoming the generally accepted distinctions between Western and Eastern music. We aim to contribute to further analysis of this flourishing music culture through our discussions on future implications of the current situation and our projections for the growing interest in microtonal music in Turkey.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48547097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0