Experiencing Armenian Music in Turkey: An Ethnography of Musicultural Memory by Burcu Yıldız

Asian Music ◽  
2020 ◽  
Vol 51 (1) ◽  
pp. 121-125
Author(s):  
Eliot Bates
Keyword(s):  
Armenian Music

Experiencing Armenian Music in Turkey: An Ethnography of Musicultural Memory

2016 ◽  
Author(s):  
Burcu Yildiz
Keyword(s):  
Cultural Studies ◽  
Cultural Memory ◽  
Life Story ◽  
Performance Practices ◽  
Musical Identity ◽  
Personal Journey ◽  
Armenian Music ◽  
Ethnographic Analysis ◽  
Cultural Recovery

Experiencing Armenian Music in Turkey: An Ethnography of Musicultural Memory is structured to explore different domains of cultural memory encoded in and conveyed through Armenian musicking practices. Burcu Yildiz discusses the sounds, performance practices and discourses in terms of her personal journey and multi-sited ethnographic experiences rather than as an attempt to describe Armenian music in Turkey. The author offers a critical look at various issues including historical framework on the possibilities of expression concerning Armenian music in Turkey; yerki bari khump (Song and Dance Ensemble) performances and choir singing as a cultural recovery of Istanbul Armenians; Gomidas Vartabed's legacy and the notion of 'the authenticity of Armenian music'; the performance of 'homeland' in diaspora via the musical identity and life story of Onnik Dinkjian; and the process of 'constructing self' by means of musical representation of Arto Tunçboyaciyan. Through in-depth ethnographic analysis, Yildiz sheds light on the musical plurality and thereby endeavor to understand the influence of hybridity and transnational circulation on Armenian music. The issue of Armenian musicking, which the author has discussed as carrier of cultural memory and a performative compound of identity, is simultaneously an expression of the loss experienced in 1915, and a means of dealing with that loss. The book will be of interest to the students and academics not only in ethnomusicology but also anthropology and cultural studies.

scholarly journals Կոմիտասին և հայոց ցեղասպանությանը նվիրված Տիգրան Մանսուրյանի երկերը

2021 ◽  
pp. 18-24
Author(s):  
Աննա Արևշատյան
Keyword(s):  
Chamber Orchestra ◽  
Large Scale ◽  
Armenian Genocide ◽  
String Orchestra ◽  
Musical Language ◽  
Special Position ◽  
The Past ◽  
Armenian Music ◽  
Mixed Choir ◽  
The 1960S

Among the works, dedicated to Komitas and the Armenian Genocide, the oeuvre of the outstanding contemporary Armenian composer Tigran Mansurian (born 1939) holds a special position. T. Mansurian addressed this topic back at the end of the 1960s. Most notable are, however, his large-scale compositions, created over the past decade, such as Concerto No. 4 for cello and string orchestra, "Where is thy brother Abel?" (2010), Requiem for soloists, mixed choir and chamber orchestra (2011), Sonata da chiesa for viola and piano (2015). The musical language and stylistic peculiarities of the above works testify to the fact that T. Mansurian is a direct successor to Komitas' creative traditions and an innovator, too, whose works have largely enriched contemporary Armenian music, imparting a new quality to the Armenian compositional thought.

Remembering Armenian music in Bolis: Komitas Vardapet in transcultural perspective

2019 ◽  
Vol 12 (5) ◽  
pp. 547-564
Author(s):  
Jacob Olley
Keyword(s):  
New Media ◽  
Ottoman Empire ◽  
Cultural Memory ◽  
Discursive Strategies ◽  
Armenian Music ◽  
Non Local ◽  
Rural Music ◽  
The Relationship ◽  
Late Ottoman ◽  
Musical Memory

This article explores the relationship between music, memory and transcultural processes in late Ottoman Istanbul by studying the writings of the Armenian composer and musicologist Komitas Vardapet (1869–1935). It describes the changing political and intellectual landscape in which Komitas and his contemporaries redefined the collective musical memory of the Armenian people through a process of secularisation and internationalisation. I argue that there was a shift from local transculturalism, in which musical memories were to some extent shared between different ethnic and confessional groups in the Ottoman Empire, to a more global and modern transculturalism, in which consciously differentiated and often antagonistic national musical memories were constructed and disseminated across non-local spaces through new media and discursive strategies. In the process, rural music practices were appropriated from their local and unofficial contexts by urban, cosmopolitan elites and purposefully inscribed as monuments of Armenian cultural memory which have endured to the present.

On the Issue of the 16-Mode System in the Theoretical Treatises on Music by Grigor Gapasakalian

2020 ◽  
pp. 40-52
Author(s):  
А.С. Аревшатян
Keyword(s):  
Church Music ◽  
Modal System ◽  
Armenian Music ◽  
Music Collection ◽  
Music Theorist

На протяжении своей истории церковная певческая практика и песнетворчество постоянно выходили за рамки, установленные церковным каноном Восьмигласия. Это отчетливо прослеживается при анализе мелодических образцов самых различных гимнографических национальных традиций. Статья посвящена 16-ти ладовой системе, упоминаемой в музыкально-теоретических трактатах видного константинопольского армянского музыканта-теоретика Григора Гапасакаляна (1740-1808) Книжка, называемая Музыкальное собрание , Книга о музыке и Книга Восьмигласия . Изучение этих трудов показало, что речь идет о некоем расширенном каноне , включающем 4 основных, 4 плагальных, 4 медиальных и 4 фторальных лада, что соответствует 16-ти ладам асмы в теории византийской церковной музыки. Проясняется сущность и назначение 16-ладовой системы, существовавшей и у греков, и армян, что свидетельствует о ней, как о сложной, разветвленной и многоярусной оригинальной модальной системе, не исчерпывающей тем не менее ладового многообразия живого певческого искусства. Throughout its history, church chanting practice and chant writing has constantly gone beyond the framework established by the ecclesiastical canon of the Octoechos. This can be clearly seen in the analysis of melodic samples of the most diverse hymnographic national traditions. The article is dedicated to the 16-mode system mentioned in the theoretical treatises on music by the prominent Armenian music theorist from Constantinople Grigor Gapasakalian (17401808) the Small Book Called Music Collection, the Book on Music and the Book of Octoehos. The study of these writings showed a presence of an extended canon that included 4 essential, 4 plagal, 4 medial and 4 phtoral modes, these corresponding to the 16-mode system of the asma in the byzantine theory of church music. This clarifies that the essence and purpose of the 16-mode system existed both among the Greeks and Armenians. And that testifies it as a complex, ramified and multi-tiered original modal system, which nonetheless does not exhaust the modal variety of living chanting art.

Essays On Armenian Music

2019 ◽  
Author(s):  
Vrej Nersessian
Keyword(s):  
Armenian Music
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