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Isaac Albeniz’ - Musical Work Asturias in the Context of Spanish Piano Music Evolution

Author(s): Domantas Milius / Language(s): English Issue: 24/2016

The article analyzes the musical work Asturias for solo piano from the Spanish Suite, Op. 47 by Spanish composer Isaac Albeniz. It delves into the ambivalence of the work from the point of view of national music. On the one hand, the work is assessed by music critics as one of the most cosmopolitan among the three outstanding composers of Spanish national school: Isaac Albeniz, Enrique Granados and Manuel de Falla. The quotations from Spanish folk music are not directly used in it, however, while listening to this musical piece one can see it as an indubitable masterpiece of Spanish music. A conclusion is drawn that Albeniz uses elements of Spanish music in his musical work Asturias in an abstracted way, thus forming a new feature of piano music described as a musical type.

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Music Software in Music Classes of General Education School

Author(s): Vytautas Žalys / Language(s): English Issue: 24/2016

The article presents a concise survey of the integration of digital technology into music expression across the world, the model of complex music education within the curriculum of Lithuanian general education schools and the essential priorities of its parts as well as the results of the analysis of 35 free and simple music software programs or their paid demo versions for music education and their compatibility with the learning outcomes while using the model.

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The effects of music therapy on oncological patients

Author(s): Akvilė Virbalienė,Skaidrė Račkauskienė,Jolanta Kasnauskienė,Aldona ŠUMSKIENĖ / Language(s): English Issue: 27/2016

The research shows the effects of music therapy on oncological patients. Music therapy is one of the tools that help patients to cope with the stress and improves self-confidence, encourages them to live valuable life. It also has a dramatic effect on quality of life as patients who participate in music therapy sessions start to express their feelings in a more active way and also start to solve their own problems. Moreover, music therapy reduces the level of stress and anxiety in the minds and body, promotes calm state, regulates sleep, stimulates body, improves memory and consciousness. It creates an opportunity for oncological patients to release hidden emotions, express the feelings that are related to the disease, encourages to take an active role in cancer pathway and search for other support sources. The content of this research includes the following problematic question: how has the state of oncologicalpatients changed after participating in music therapy sessions? Research object was the effects of music therapy on oncologicalpatients.The aim of this research was to identify the effects of music therapy on oncologicalpatients. The research has shown that people after hearing cancer diagnosis usually become anti-social - often separate themselves from society, become desolate, move away from favorite activities, also their emotions may become very feeble. The reaction to diagnosis is caused by a very strong psychological trauma that is explained as extreme stress. The fair of death destroys usual, during a lifetime gained stereotypes and changes the system of life values. Also the researched has proved that the patients as a result of music therapy during and after treatment change attitude towards the disease and start to live a meaningful life in a new high quality way that is based on the strengthened faith in God and appreciation of current moment.

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Satisfaction or Hard Labor? Portrait of a Ballet School in 52 Percent by Rafał Skalski

Author(s): Anna Śliwińska / Language(s): English Issue: 24/2014

How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by Rafał Skalski with two documentaries made in the West (First Position and Only When I Dance), which also show the endeavors of young people who want to fulfill their dreams of becoming ballet dancers. Alla tries to enroll in the famous Russian Agrippina Vaganova Academy of Russian Ballet in Sankt Petersburg. Th e exams are really tough, and she must do additional exercises to lengthen her legs (she lacks 0.4% to achieve the perfect leg-upper body ratio). The girl cannot make her legs longer, although she tries hard. Her days filled with exercise are filmed in long, static shots. There is no joy or enthusiasm. Sweat and tiredness are a part of strenuous exercise. Alla does not spin on a roof, nor does she jump rhythmically while cooking, like the characters of First Position and Only When I Dance. There is nothing from a fairy tale or Hollywood in her experiences. Additionally, Skalski’s film breaks the myth of the dancer’s body being strong and inexhaustible. This is how we traditionally look at ballet, where there is no place for showing weakness.

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Türk-Arap Müziğinde Etkileşim ve Müşterek Unsurlar

Author(s): Arif Demir / Language(s): Turkish Issue: 86/2016

Although the historical and religious interaction between Turks and Arabs started with the XIII. Century, the beginning point of a musical interaction only goes back to the first quarter of the XVI century. Therefore, Turkish Music which has acquired many musical elements from Central Asia, Anatolia, İran and Middle East and Arabic Music has been interacting nearly for the last four centuries. Arabic and Turkish Music systems have substantial parallelisms especially in the senses of melodies, makam and usûl structures. In spite of the various differences in the pre-Islamic musical traditions of the two societies, they have many similarities in the post-Islamic period. Especially the forms and themes that have been used in Cami Music can be considered as common. In this study; a brief history of Turkish-Arabic Music will be discussed including the stylistic periods, the instants of critical changes and the interaction between the other musical cultures. Besides, the common forms, themes, instruments and makam-usûl structures in Turkish-Arabic Music will be concentrated.

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Star Bride Marries a Cook: The Changing Processes in the Oral Singing Tradition and in Folk Song Collecting on the Western Estonian Island of Hiiumaa. I

Author(s): Helen Kõmmus,Taive Särg / Language(s): English Issue: 67/2017

Relying on the critical analysis of the folk song collections, which represent the heritage of Estonia’s second biggest island, Hiiumaa1, as well as on manifold background information, the history of Hiiumaa folk song collecting (from 1832 to 1979) and the character of the singing tradition in the changing social and cultural context is drafted. During the process of research, the data on Hiiumaa folk songs were formalized, the specific features of older local song styles (regilaul2, transitional song, and archaic vocal genres) were outlined by using formal and typological text analysis, and the representability of folk song collections was estimated. The settlement history of Hiiumaa was studied and associated with the putative processes in folk song tradition. The older folk songs collected from Hiiumaa reveal the process of historical changing: there occur older Baltic-Finnic alliterative songs and transitional songs with regional western Estonian features and a pervasive impact of bagpipe music. The singing tradition is influenced mainly by cultural contacts with the Estonian and Swedish population on Estonian islands and the western coast, and also by the contacts of local sailors. The number of older Hiiumaa folk song representations is relatively modest due to the reasons that lay in folklore collecting ideology, the remote location of Hiiumaa, and a fast decline of regilaul tradition in the late 1800s and early 1900s. However, in the course of fieldwork, regilaul songs were always documented as precisely as possible, while other older genres were often dismissed by earlier collectors. Fieldwork was seldom done in Hiiumaa, but the existing folk song examples, if treated critically, still give quite a good overview of the local historical singing tradition.

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Sibirya’da Türk Musikisi Üzerine Yazinsal Bir İnceleme

Author(s): Feza Tansuğ / Language(s): Turkish Issue: 90/2017

This bibliographical survey covers books dealing with the Turkic music of Siberia in the Russian Federation. In addition to reviewing books published by Turkic authors, this article includes some relevant works by Russian musicologists. However, the works authored by Siberian scholars abroad was excluded from this survey. It contains references only in Russian and Turkic languages. Because of the increase in the number of books published recently, a careful selection has been made in order to keep the references section to an acceptable length. Hence, the bibliography does not embody all of the works of a single author on the topic. This essay also gives an idea of recent research trends and topics in traditional music studies in Siberia. It consists of six parts including Tuvan music, Sakha music, Altai music, Khakas music, Shor music, and other publications on music.

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Karnavalesk Bağlaminda “Müzika Retorika”

Author(s): Aykut B. Çerezcioğlu / Language(s): Turkish Issue: 81/2015

Concepts that were propounded by the Russian contemplator Mikhael Bakhtin based on his literature reviews, such as dialogue, dialogy and carnivalesque are also used in studies on popular culture. According to Bakhthin, at the carnival, a public culture which is positioned as an opposition to the official culture, carries the laughter, the collective life rhythms of the nature and the resistance and functions of the body to language and literature. Carnival square is a public conscience which reveals itself as a ridicule to every kind of official position and seriousness, overturning all hierarchies, celebration of all kinds of violations of conduct codes by profanity, insults and vulgarity, and all extremes of physical appetite. Bakhtin explains that all “semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world. “Semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world and some of them are direct literary variations of direct verbal carnivalesque-folk genres. The rhetorical elements are found in all half serious - half humorous genres and has a heterophonic nature; a multi pitched narration and intertwined genres and styles are frequently seen. Musician Karahan Kadırman, in his performances entitled “Muzika-Retorika”, uses a style which he establishes a dialogue with the audience. Kadırman defines Müzika-Retorika as a genre in which individuals discuss “similarities and differences, the society that freezes these similarities and differences, politics which legalize and sometimes shatter these similarities and differences, the psychology and the ethics that fluctuate within these similarities and differences” and the musician performs with multi instruments on the “field” sounds that were recorded during these discussions. According to Kadırman, “to form a multi-genred association as a protest against popular and customary within the urban music culture, by means of ortaoyunu (a eulogy show in ottoman culture and entertainment life), cabarets, musicals, performance arts, minstrel traditions and other art disciplines, encouraging to speak on what cannot be spoken and criticizing the authoritarian structure is important”. The aim of this study is to analyze Musical Rhetoric within the contexts of Carnival and dialogue.

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Müzik Terapi Uygulamalari Ve Bazi Ülkelerdeki Eğitimi

Author(s): Burçin Uçaner,Birsen Jelen / Language(s): Turkish Issue: 81/2015

Throughout history, music has been utilized for therapy by civilizations such as in Egypt, China, Ancient Greece and Central Asia. “Magician doctors” of hunter-gatherer tribes have tried to cure patients through finding the voice and song of the evil spirits which are believed to cause the sickness. Central Asian Turks have used music for therapy and healing, along with worship and casting spells. Later, during the Seljuk and Ottoman periods, they have built therapy houses (şifahane), and written books on music therapy. There are African tribes which continue the tradition of music therapy even today. As for the more recent history of music therapy, we find that in 1848, a music therapist form Prague, Raudnitz, to be the first to investigate the importance of music in medicine, specifically in psychoses. Around this time and forward, studies on music therapy have started in different countries; music therapy associations have been founded; and later in universities, music therapy departments have been established. Currently, music therapy education is provided in undergraduate, graduate and doctoral levels in many countries in America, Europe, and Asia. In addition, many independent foundations and centers are actively doing research on music therapy. In Turkey, however, music therapy education is not provided in any academic institution. Research, studies and performances on music therapy are being carried out by foundations, centers, academicians - usually through personal efforts. This study describes institutions that provide music therapy education and their current studies in Norway, Latvia, Japan, U.K., Argentina, Brazil, Egypt and Turkey.

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Tûr Abdin’de Bir Kimlik Ve Anlatim Biçimi: Mitirblar Ve Mitriplik

Author(s): Necat Keskin / Language(s): Turkish Issue: 84/2015

Located beetween the Euphrates and the Tigris rivers, Mesopotamia has been a multi-cultural, multi-ethnic region in the course of history. As a part of this geographic region, Mardin and around which is also named as Tûr-Abdin comes to forefront with its multicultural and multi-ethnic characteristic just like Mesopotamia in which it is placed. Beside the Kurds, Arabs, and Syrian ethnic groups, there are other religious and cultural groups such as Sayyids, Mihalmis and mıtırbs that conditionally define themselves among this ethnicities. In this article mıtırbs living in and around Mardin are subjected within the framework of music, ethnicity, identity terms, and the Mıtrıplık, the traditional narrative form which is also continued in some ways nowadays, is compared to the dengbêjlik, another narrative form which is valued as a ‘national’ form by Kurds. Mıtırbs are named as motreb, mıtrıp in different places and defined one of the Gypsies community who are doing music. They are perceived and defined in the same way in and around Mardin. However, mıtırbs often tend to define themselves in the ‘Kurdish’ ethnic identiy. The thing that comes to forefront in this definition is their ability to use Kurdish very well and their existence there for a long time. On the other hand in and around Mardin, mıtırbs are using kemançe, a 3-stringed musical instrument. This instrument is also a main element of the traditional narrative form, mıtrıplık. This traditional narrative form which is passed down from one generation to the next by means of culturation process, differs from the other narrative form, dengbêjlik, by the central importance of the used instrument, and the ‘identiy’ of the one who continues the tradition.

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МЕТОДОЛОГИЧЕСКИЕ ОСНОВЫ ПРОДУКТИВНОЙ НАУЧНОЙ ШКОЛЫ И. А. КОТЛЯРЕВСКОГО

Author(s): Elena Roschenko / Language(s): Russian Issue: 3/2016

Purpose of research is to study the methodological basis of the productive scientific school of I.A.Kotlyarevsky prospective for future music studies development. Studying the principles of scientific school formed in the national musicology at the beginning of XXI century, has acquired special relevance. Established by I.A. Kotlyarevsky productive scientific school is one of the most original and perspective in Ukrainian musicology, as evidenced by the results of the methods of scientific knowledge and the formation of scientific world outlook of its students. Research methodology is based on historical and logical, systematic and dialectical methods of analysis, which promotes the comprehension of the essence of I.A. Kot-lyarevsky’s productive scientific school. The scientific novelty of the research lies in the systematic analysis of the principles of productive scientific school of musicology, interpreted in terms of reflection of the personal qualities of the scientist. Among the features of I.A. Kotlyarevsky scientific school there are the ability to find a problematic situation, the interpretation of the research topic as genetic code of the work, rejection of the previous work in the name of the study "core", transcendental meditation method, dialectical and systematic research methods, problem analysis, "healthy pragmatism", immediate constructing of the whole in its details, modeling of the structure and content of research ahead of writing (reading) of the work, the conceptual density of scientific text and its prognostic nature, abstract thinking and the gift of scientific prediction. In I.A. Kotlyarevsky scientific school belief in the student’s potential and talent was combined with imperatively worded pro-visions, which determined the research direction. Requirements to scientific language met the "height of the position" of the researcher. The content of one of the imperatives of the I.A. Kotlyarevsky scientific school is that the scientist should be able to put just about each provision of the study as the main one. If in the result of this operation the research retains its significance, it demonstrates the importance of this position in the structure and content of the work. Conclusion. Understanding of the principles and patterns of the productive scientific school of I.A. Kotlyarevsky has methodological and prognostic importance for the development of domestic musicology.

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Irak Türkmen Sözlü Halk Edebiyatinda Horyatin Edebî Ve Musiki Yapisi

Author(s): Sermet Mehdi Tuzlu / Language(s): Turkish Issue: 80/2014

This study is consisted of two parts including the introduction. In the first part, under the heading of horiat’s literary structure, horiat’s definition and form features are explained by giving examples about six types, classified as the ones with puns, the ones with rhymes, the ones with redifs and rhymes, the ones with repetitions, the ones with wings and the ones composed of at least four lines. As for horiat’s themes, they are studied as fourteen types mentioning national conscience, sufistic belief, wisdom, bravery and exploit, luck and misfortune, sorrow, grief and gloom, love and attachment, advice, longing and seperation, wish and request, pray and curse, complaint about time, fate, love and beloved and good and bad friends. Examples from each theme are also provided. Under the second heading, horiat’s musical structures are examined. In this part, horiat’s musical definition, the history of horiat usuls and the information of twenty two usuls and their emergence are given including Atici, Beshiri, Darmangaha, Delliheseni, İdele, İskenderi, Karabas, Kesuk; Sharp Kesuk, Kesuk of Mehav, Kesuk Matari, Kizil, Kurde, Malalla, Mazan, Matari, Memeli, Muchila, Muhalif, Nobatchi, Sherife, Umergele and Yetimi. Horiat usuls are classified regarding their tune and dialect features: Usuls Bayati-flavoured; Karabash, Mazan, Sherife and Umergele; usuls Huseyniflavoured; İdele ve Yolchi; usuls Segah-flavoured; Atici, İskenderi; usuls Rast and Mahurflavoured; Beshiri and Yetimi; Matari usul with Chargah-flavoured. Usuls performed with different tune and dialects are detected as Darmangaha usul; Darmangaha Sabaflavoured (Kirkuk dialect), Darmangaha Huseyni-flavoured (Tuzhurmatu dialect), Usul Delliheseni; Delliheseni Hicaz-flavoured (Kirkuk dialect), Delliheseni Hicaz-flavoured (Tuzhurmatu dialect) and Delliheseni Bayati-flavoured (Erbil dialect), Kesuk usul Segah-flavoured; Sharp Kesuk, Kesuk of Mehav and Kesuk Matari, Usul Kizil; Kizil Rast-flavoured (Kirkuk dialect) and Kizil Charhag-flavoured (Tuzhurmatu dialect), Usul Kurde; Kurde Hicaz-flavoured (Emin Bagvan dialect), Kurde Tahir-flavoured (Yasin Bagvan dialect) and Telli Kurde Tahir-flavoured, Usul Muchila; Muchila Bayatiflavoured, Muchila Hicaz-flavoured and Usul Muchila Hicaz and Bayati-flavoured, Usul Nobatchi Hicaz and Bayati-flavoured, Usul Muhalif Huzzam-flavoured, Muhalif of Ottoman and Telli Muhalif. Horiat performer’s voice features are also handled.

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Manhattan Woody’ego Allena. Poetyka introdukcji

Author(s): Marek Hendrykowski / Language(s): Polish Issue: 21/2013

Marek Hendrykowski’s innovative study on the four-minute opening sequence to Manhattan analyses one of the most beautiful introductions in the history of world cinema. Its subtle simultaneous construction based on European and American traditions and key canonical texts of 20th-century art: Walther Ruttmann’s Berlin: Symphony of the City, John Dos Passos’s Manhattan Transfer and George Gershwin’s Blue Rapsody. A semiotic apparatus has been included, along with deep explanatory commentaries and close-readings that identify step-by-step the details of its content, contradictory fiction-nonfiction relationships, and the roles of visual image, word and music, narrative, personal point of view, and stream of consciousness technique in the film. The suggestive film overture to Manhattan composed by Woody Allen represents continuities as well as disruptions, sustained between avant-garde artistic tradition and film art of the 1970s.

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Karşilikli Söyleşme/Deyişme Üslubuna Dayali “Değirmenci” Türküleri Ve Yunanca Varyanti

Author(s): Eray Cömert / Language(s): Turkish Issue: 78/2014

Musical pieces using a conversational style and depicting the encounter of a Miller (Değirmenci) and a woman who brought wheat to the mill to grind into flour are common among Turkic communities living in and around Anatolia. This kind of pieces, whose initial source or place of origin is still unknown, are known to be preserved until today as melodic or thematic variants passing down by word of mouth. We should emphasis that the most characteristic feature of these musical pieces, whose geographical borders extend beyond Anatolia in direct proportion to the borders of communication and interaction, is its conversational style. This feature is the most important element which distinguishes “The Miller and the Woman” conversational pieces from other “mill” or “miller” themed musical pieces in and around Anatolia. On the other hand, these musical pieces entered the professional music world and started to be played by professionals thanks to vinyl records released in Turkey in the early 20th century under the name “The Miller Song”. A literature review and a variant comparison study should be carried out to question how these pieces gained popularity among certain communities. This study examines various “The Miller and the Woman” conversational pieces in written/print and oral literature, defines the regions where these pieces had the opportunity to pass on, and presents a basic argument about the conditions which led to the development of different variants. The study also refers to these pieces’ role in intercultural interaction through a sample piece sung with Greek lyrics.

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Tarihî Genetik Ortaklik Ve Senkretik [=Bağdaştirmaci] Sanat Yaklaşimlari Bağlaminda Şaman Ve Epik Küyci [=Ozan]

Author(s): Eunkyung Oh,Mamatqul Jo’raev / Language(s): Turkish Issue: 76/2013

This essay is related with minstrel and shamanist. We have hypothesis concerning deep and tight relationship between shamanist and folk poet. Both of them are simultaneously musicians, singers, poet, yaratıcı and players. In old ages shamanist did all functions. When we analyze the notion of shamanist, we can understand that shamanist has deep meaning. According to the tradition, aşık who reads folk epic, sing a derleme or destan through dombria, kubiz and so on. One of the functions of destancılık okulu is (out of harezm destancılığı because in there aşıklar used intruments such as tar dutar and so on) singing epic works of Uzbek aşıkları through dombria. The qualifications of Epic türkücülük namely destancı aşık and shamanist aşıklarda musicians, türkücülük, poesy, extemporising (irticalen söyleme) and morover acting show us in advance, two characters of yorumculuğun (yorumculuğun genellikle psikolojik anlamı var bir şarkı söyleme yorumculuğu anlaımında ki kelimenin ingilizce karşılığını bulamadım) created as a all general traditional style. So, in advance shamanist attented rumuzlu and magical ceremony also they played an active role products of old folklore, mythological epic story yaratıcıları and he played an active role as a fist yorumcu. During the process ofthe historical evaluation of shamanist yorumcularının and folklore yorumculuk started to develop in a different way. Aşık who read epic works, during the porcess of development process his own yorumculuk, aşık created , read, and went thotugh some pases such as “Şaman/ sihirbaz aşık” ( synthetic historical type of aşıklık) “ türkücü aşıklık” (type of aşık who is yorumlayan and cereaed türküler related with herosim) and “destancı aşık” (clasical type of destancılık).

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Nevşehirli Âşik Ahmet’in Yaşami Ve Şiiri Üzerine

Author(s): Murat Devrim Dirlikyapan / Language(s): Turkish Issue: 76/2013

Ahmet from Nevşehir is one of our minstrels who is not playing saz but composing his poeAhmet from Nevşehir is one of our minstrels who is not playing saz but composing his poems melodiously. He was born at 1950 and known by his poems which have been published in local newspapers. He is also known with his amateur tape recordings which were delivered to acquaintances. Additionally, we have 2 video tapes from 1990 and 4 manuscripts which consist of his poems from 1960 to present. In these manuscripts there are 384 poems of his own. Minstrel Ahmet was grown up in a family in which everybody sings folk songs. Especially in his first poems, he got inspired from folktales like Ferhat ile Şirin, Kerem ile Aslı, Tahir ile Zühre which he first listened from his grandfather and minstrels like Âşık Garip, Âşık Kerem, Karac’oğlan and Muharrem Ertaş. Some of the themes he handles mostly in his poems are love, poverty, social satire, homesickness and individual cases. Love, which is the basis of minstrel literature (âşık edebiyatı) is in the minstrel Ahmet’s poems also the dominant theme from the first poems which express the naive feelings of a child to the last poems which turn to express the belatedness and timelessness. In the poems of social satire, actual themes like the rudeness of humanity and unjustness between people, the punishment of innosence, venality, fraud, madness of consumption and extravagance, exploitation, inequality, injustice and terrorism are coming into prominence. We can observe not only his real life but also his neighborhood’sand sometimes from another voice. Most of his poems set up with koşma style which has 8 and 11 syllabicmeter.

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Popüler Müzik Ve Gündelik Yaşam Deneyimi

Author(s): Aykut B. Çerezcioğlu / Language(s): Turkish Issue: 75/2013

During the 1970’s and 1980’s, popular music studies was largely concentrated around issues of production, performance and text. Although some research on audiences did exist, this was largely carried out by theorists associated with subcultural theory or youth cultural studies, that were more broadly defined. However, in the 1990’s, with using the personal stereos like walkman, discman, MP3 players and iPod, music, use of popular music examples and functions of music in everday life topics arouse attention and the related literature begins to shape. Technological innovations such as the iPod and the Internet mean it is arguable that music is currently more readily available in a range ofcon- texts than ever before;and this accessibility means that people may well actively use music in a range oflistening contexts. People might consciously and actively use music at different times,in different situations,with different people,and for different purposes,with these different listening contexts resulting in different musical experiences that are valued differently by each listener. With using the personal stereos, music begin to lose its indoor listening structure, where only listened in houses and other indoor places including cars by using nonmovable equipment such as pickups and stereos. By this way, music gains a new way of use where people carry it with themselves, choose what to listen according to their state of mind and location and make it a part of their whole everyday life experience. The aim of this study, with overviewing the literature on music in everyday life, is to discuss, how individuals change their everyday life experience with the use of personal stereos, how they use music as a tool for avoiding everyday life “routine”, shape their memory and perception by using music, use popular music during their self identification period, and how they make the connection between popular music and lifestyle as a part of their everday life experience, and make an introduction to “place of music making practice in everday life” discourse, which is missing in literature.

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XVII. Yüzyil Osmanli Müzik Geleneği Ve Buhurizade Mustafa Itri Efendi

Author(s): Cenk Güray,Murat Salim Tokaç / Language(s): Turkish Issue: 75/2013

Buhurizade Mustafa Itri Efendi, is one of the most interesting musical personalities of XVII century Ottoman musical scene, which can be identified as the last era to be culturally connected to the roots of the Ottoman Musical Tradition. Itri received significance as a “master”, by both being “well known” as the composer of important religious music examples of the Islamic World like “Segah Tekbir and Salat-ı Ümmiye”, and being named as a “great composer” due to his musical power that had affected the following generations. But, the details of the “process”-that should b related to the above characters of Itri- by which he had been dignified with the attribute “great” is not yet clear. The research about these details will be only possible with a comparative survey of the practical-theoretical musical works of the period with other sources of art produced in the same era. The first step of such a research should be based on the clues about the life story of Itri which could strongly identify the social relations underlying the musical productions of the period. This step also should require a survey on musical productions of these centuries supported by parallel researches on areas like history, literature as well. The second step should be consisted of a comparative survey of the theoretical and practical musical sources. The works named as ‘theoretical’ are hand written books called “edvar (cycles)”, whereas the practical works are the compositions attributed to Itri which are written in the musical notations of different periods. Such a comparative survey within the light of the social history will be able to produce the seeds of a study indicating the technical effects of Itri and his “school” to the Ottoman musical tradition. The aim of the current study is to build the initial blocks for such an extensive study, by an analytic survey about the music of the XVII-XVIII centuries by putting the name of Itri in the scope. Such studies will not only help in identifying the musical choices accompanying the period so called the “summit” of the Ottoman musical tradition, but also will possibly to assist to expose the “social causes” affecting these choices.

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‘Kültürel Kimlik’ Ve ‘Kültürel Adaptasyon’ Kavramlari Çerçevesinde Malatya Romanlarinin Müzik Pratikleri

Author(s): Zafer Kılınçer,Banu Mustan Dönmez / Language(s): Turkish Issue: 74/2013

The research has been formed in order to analyze music practices of Malatya Romanies within the framework of cultural identity and cultural adaptation concepts. Romany diaspora exists in many places of the world; additionally the homeland of those people is in the northwest of India. Therefore; the origin of Romany people, their general features and their situation in Turkey have been emphasized in the first part of that study and then it has been passed to Malatya Romanies in the second part of that study. It has been limited with only Malatya region in the study in order to get much more information across the region. Romanies have performed generally Romany music, Art music and sometimes types of West and Çigan music in the west. They have also added Turkish Folk Music, Arguvan and Pütürge Music which represent Malatya and arabesque in Malatya. However they have not settled down completely and actually in the east, they have got help from local musicians of Malatya especially for the performance of a plucked string instrument that is public instrument for adaptation to eastern culture. The music types which have been performed by Romanies in Malatya have shown an accurate distribution according to music places which have been divided into two main parts as ‘elite’ and ‘common herd’ in the study. It has been determined that Romanies who have performed more Turkish Art Music and popular music in the elite places such as restaurant and hotel, on the other hand they have vocalized generally folk music and arabesque as pavilion style in common herd places such as pub and pavilion.

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Çok Yönlü Bir Kültür Adami, Sanatçi Cemil Demirsipahi’nin Ardindan

Author(s): Nail Tan / Language(s): Turkish Issue: 74/2013

Türk halk müziği, halk oyunları alanlarındaki araştırma ve uygulamalarıyla tanınan Avukat Cemil Demirsipahi 12 Ocak 2013 Cumartesi sabahı Ankara’daki evinde sabaha karşı uykuda iken hayata veda etti. Ölüm ilanında ailesi, mesleki sıfatlarını şöyle saymıştı: Kompozitör/besteci, müzikolog, şef, saz sanatçısı, araştırmacı, yazar, şair ve avukat. Cenazesi 13 Ocak 2013 Pazar günü Kocatepe Camii’nde kılınan öğle ve cenaze namazlarının ardından Cebeci Asrî Mezarlığı’nda toprağa verildi.

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