scholarly journals The originality of transposed maqams with few composed works: Examples from Ruhnevaz and Reng-i DilAz eser bestelenmiş şed makamların özgünlüğü: Ruhnevaz ve Reng-i Dil örnekleri

2016 ◽  
Vol 13 (3) ◽  
pp. 5362
Author(s):  
Esra Berkman
Keyword(s):  
Fine Arts ◽  
The Other ◽  
Directorate General ◽  
Similarities And Differences ◽  
The Republic ◽  
Republic Of Turkey ◽  
Made In

The Directorate General of Fine Arts of the Ministry of Culture and Tourism of the Republic of Turkey organized a “Competition for Compositions in Infrequently-Used Maqams and Usuls” with November 1, 2005 as the deadline of applications, and the competition ended with the awards ceremony in April 2006. Almost 500 composers applied with their compositions in 50 infrequently-used maqams determined by a board, and a total of 50 works from six groups received awards. The organizing institution emphasized that the objectives of the competition were to bring those 50 identified maqams to light, to encourage composers to compose works in these maqams, and to enrich the repertory of maqamic music.Grouped by their tonics and çeşni’s, only two of these 50 maqams were şed (transposed) maqams. One was Rûhnevâz, the transposed maqam of Bûselik, with the tonic in Hüseynîaşîran, and the other was Reng-i Dil, the transposed maqam of Neveser, with the tonic in Acemaşîran. This article seeks to explain why so few compositions have been made in the maqams Rûhnevâz and Reng-i Dil, which are compared for similarities and differences with other maqams that use the same scales in the context of maqamic analysis and transpositions, as well as the originality of these maqams. ÖzetT.C. Kültür ve Turizm Bakanlığı, Güzel Sanatlar Genel Müdürlüğü tarafından 2005 yılı 1 Kasım günü çağrılı “Az Kullanılan Makam ve Usûllerde Beste Yarışması” düzenlenir ve Nisan 2006’da bir ödül töreniyle sonlandırılır. Bir kurul tarafından belirlenen 50 az kullanılmış makamda yaklaşık 500 eser sahibi başvuru yapar ve altı gruptan toplam elli eser ödüllendirilir. Düzen­leyen kurumca, yarışma düzenleme amacının, belirlenen 50 makamın yeniden gün ışığına çıkarılması, bestecilerin bu makamlarda eser üretmelerini teşvik etmek ve makam müziği repertuarını zenginleştirme olduğu vurgulan­mıştır.Karar perdeleri ve karar çeşnileri üzerinden bir tabloda gruplandırılan bu 50 makamın sadece ikisinin şed makam olduğu görülmüştür. Bir tanesi Hüseynîaşîran perdesi kararlı Buselik makamı şeddi Rûhnevâz diğeri ise, Acemaşîran perdesi kararlı Neveser makamı şeddi olan Reng-i Dil’dir. Bu yazıda, makamsal analiz, göçürme uygulaması ve aynı dizileri kullanan diğer makamlarla arasındaki benzerlikler / farklılıklar bağlamında, bunlara ek olarak,  özgünlük kavramı üzerinden irdelenmiş olan Rûhnevâz ve Reng-i Dil makamlarında, neden nicelik bakımdan az sayıda eser verilmiş olabileceği araştırılmıştır. 

scholarly journals Keeping the milk grace: Birch bark objects from the collection of the National Fine Arts Museum of the Republic of Sakha (Yakutia)

2019 ◽  
Author(s):  
Ася Львовна Габышева
Keyword(s):  
Fine Arts ◽  
Birch Bark ◽  
Sacred Tree ◽  
Early 21St Century ◽  
Artistic Style ◽  
Traditional Course ◽  
The Republic ◽  
Technological Methods ◽  
Selection Of ◽  
Made In

Берестяные изделия в собрании Национального художественного музея Республики Саха (Якутия), выполненные в соответствии с канонами и художественным стилем, яркий показатель материальной и духовной культуры якутов. В статье представлена типология берестяных изделий из коллекции музея по способу изготовления и декору, дан анализ техники, комплекса выразительных средств и их символического значения. По якутским поверьям береза была священным деревом божеств Верхнего мира, она защищала человека от действий темных сил и болезней. Изделия из бересты помимо утилитарных целей имели важное культовое значение. В берестяных изделиях XX начала XXI века сохраняется архаичная стилистика и техника, демонстрируя нераздельность старого и нового. Каждая мастерица, выражая одухотворенное отношение к природе, обращается к огромному культурному пласту, используя многовековой отбор форм, орнаментики, технологических приемов, которые хранят в себе большие возможности. Бесконечно возрождающийся во множестве творческих вариантов, этот феномен демонстрирует единство в традиционном русле якутской пластики. In the collection of the National Fine Arts Museum of the Republic of Sakha (Yakuita), birch bark items, made in accordance with the canons and artistic style, are a bright indicator of the material and spiritual culture of the Yakuts. The article presents the typology of birch bark objects from the Museums collection by the method of manufacturing and decoration, analyzes the technique, the complex of expressive means and their symbolic meaning. According to Yakut beliefs, birch was a sacred tree of the deities of the Upper World, protecting a person from the actions of dark forces and diseases. Therefore, the objects of birch bark, in addition to utilitarian purposes, had important cult significance, an eternal meaning. Archaic style and technique are preserved in birch bark objects of the 20th early 21st century, demonstrating the indivisibility of the old and the new. Each craftswoman, expressing a spiritual attitude towards nature, turns to a huge cultural stratum, using the centuriesold selection of forms, ornaments, and technological methods that keep endless possibilities. Infinitely reviving in a variety of creative options, this phenomenon demonstrates unity in the traditional course of the Yakut plastics.

scholarly journals ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ

2020 ◽  
pp. 281-292
Author(s):  
Инна Хатипова ◽  
Keyword(s):  
20Th Century ◽  
Teaching Practice ◽  
Fine Arts ◽  
Piano Music ◽  
The Other ◽  
Original Music ◽  
Musical Language ◽  
Republic Of Moldova ◽  
The Republic ◽  
First Time

In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.

The 1914 Generation Artists

2018 ◽  
Author(s):  
Wendy Shaw
Keyword(s):  
National Identity ◽  
World War I ◽  
Fine Arts ◽  
French Language ◽  
World War ◽  
The Republic ◽  
The Military ◽  
Republic Of Turkey ◽  
Late Ottoman

The artists historiographically grouped as the 1914 Generation transformed the Westernizing artistic impulse of the late Ottoman era into the modernizing impulse of the Republic of Turkey, founded in 1923. Stylistically, the 1914 Generation distinguishes itself from earlier generations through its interest in naturalism, and from later generations through its disinterest in aesthetic modernism. More than functioning as a cohesive movement, the 1914 Generation came to prominence as a result of the onset of World War I. The artists most often included within this categorization include: Nazmi Ziya Güran (1881–1937), Mehmet Ruhi Arel (1880–1931), İbrahim Çallı (1882–1960), Hikmet Onat (1882–1977), Feyhaman Duran (1886–1970), Hüseyin Avni Lifij (1886–1927), and Namık İsmail (1890–1935). Although often excluded because of their lack of affiliation with the Istanbul Academy of Fine Arts, artists who may be considered in conjunction with this category by virtue of their participation in the pivotal transition from Ottoman to Turkish national identity also include Şevket (Dağ; 1876–1948), a teacher at the French-language Galatasaray Lycée, the military-trained artists Mehmet Sami Yetik (1878–1935), Mehmet Ali Laga (1878–1947) and Ali Sami Boyar (1880–1967), as well as the female artist Mihri Rasim/Müşfik (1886–1954).

The Spatial Structure Of Socio-Economic Attributes Of Turkish Provinces

1973 ◽  
Vol 4 (3) ◽  
pp. 288-310 ◽  
Author(s):  
Melvin Albaum ◽  
Christopher S. Davies
Keyword(s):  
Spatial Organization ◽  
Rapid Change ◽  
Capital Expenditures ◽  
The Past ◽  
Agrarian Economy ◽  
The Republic ◽  
Modernization Process ◽  
Republic Of Turkey ◽  
Modern Form ◽  
Made In

During the past several decades, deliberate attempts to move from a ‘traditional’ to a ‘modern’ form of society have been made in the Republic of Turkey, resulting in rapid change economically, socially, and even politicallyI. The effort to change from a predominantly agrarian economy, and the concomitant increases in urbanization and industrialization, have had a profound effect on several sections of the country and have, to a large extent, created a whole new structure of spatial organization and patterns. Nevertheless, most of Turkey has been only slightly affected by the modernization process, and remains unaltered by the progress of economic and social development. Although economic growth and capital expenditures for development have steadily increased, they have not been uniformly distributed throughout the Republic, resulting in distinct regional disparities and a socio-economic system with many dualisms in its structure2.

scholarly journals LIMITS OF TURKEY’S CAPABILITIES AS A TRANSIT GAS CORRIDOR

2020 ◽  
pp. 83-92
Author(s):  
Diana Ayvazyan ◽  
Keyword(s):  
European Union ◽  
Natural Resources ◽  
Geographic Location ◽  
The Other ◽  
The European Union ◽  
Gas Market ◽  
The Republic ◽  
Republic Of Turkey ◽  
Gas Supply

The paper examines the role of the Republic of Turkey as a transit corridor for the natural gas supply to the European Union. Turkey's interests in increasing its transit potential based on its favorable geographic location near gas producers and consumers are studied. The results achieved in this direction of the energy policy of the Republic of Turkey are brought out. The limitations for the increase of the volume of gas transit through the territory of Turkey are examined. The documents of the Ministry of Energy and Natural Resources of Turkey, the ongoing projects on the transit of pipeline gas through the Turkish territory are analyzed. It is shown that Turkey's interest in the expansion of the geography of gas imports and transit coincides with the interests of the European Union as a gas consumer as well as with the interest of gas suppliers in full (in the case of Azerbaijan) or partially (in the case of Russia) to transit gas through Turkey. Turkey's role as a transit gas corridor is limited by small volumes of gas in comparison with the other directions of supply and an increase in the share of LNG in the European gas market.

The Relationship of Religious Practice to Linguistic Culture: Language, Religion, and Education in Alsace and the Roussillon, 1860–1890

1999 ◽  
Vol 68 (3) ◽  
pp. 598-626 ◽  
Author(s):  
Joseph F. Byrnes
Keyword(s):  
Nineteenth Century ◽  
Religious Practice ◽  
The Other ◽  
Modern France ◽  
The Republic ◽  
Relationship Of ◽  
Regional Languages ◽  
The Relationship ◽  
Made In

The revolutionary and legislator Bertrand Barrère in his Sur les idiomes étrangers et l'enseignement de la langue française had said, “Federalism and superstition speak Breton; emigration and hatred of the Republic speak German; the counter-revolution speaks Italian, and fanaticism speaks Basque.” For Barrère, regional languages were intertwined with religion (“superstition,” “fanaticism”) and the other antigovernment forces. And he was right, at least in part. Surveys made in the last century indicate that of those regions where a language other than French was spoken (German in Alsace-Lorraine, Flemish in the department of the Nord, Gaelic in Brittany, Basque in the Southwest, and Catalan in the Roussillon), all save the Roussillon had statistically high levels of religious practice. To explore how religious practice has been supported by linguistic culture in modern France, I have chosen the high-practice region of Alsace and the low-practice region of the Roussillon in the last half of the nineteenth century. I want to interpret the dynamics through which Alsace supported religious practice and the Roussillon did not.

Smile of the Crescent: Constructing a Future Identity Out of Historical Ambiguity in İstiklal Marşi (with Translation)

2021 ◽  
pp. 1-31
Author(s):  
Günil Özlem Ayaydin-Cebe
Keyword(s):  
Identity Construction ◽  
The Self ◽  
The Other ◽  
Nation State ◽  
State Identity ◽  
National Anthem ◽  
The Past ◽  
The Republic ◽  
Republic Of Turkey ◽  
Modern Nation State

Abstract This article analyses identity construction in İstiklal Marşi (“Independence March”), the national anthem of the Republic of Turkey, within the theoretical framework of Eurocentric nation-state rhetoric. It argues that the continuing success of the text, written by Mehmet Akif [Ersoy] in 1921, is independent of the ideological stand of its author, and lies instead in its conveyance of a modern nation-state identity. In order to demonstrate this, the article first depicts the circumstances of the adoption of the national anthem and its immediate reception in Turkey. Afterwards, it examines identity construction in the anthem and reveals that the war against European forces determined the self-perception of the nation by both the negation and mirroring of the other. It concludes that, by foregrounding certain elements such as l’esprit frondeur and faith, and by interpreting the convention of Ottoman Divan poetry, the poet infused the cultural and aesthetic legacy of the past into the future needs of a nation-state.

scholarly journals Populism in the Foreign Policy of the Turkish Republic

2021 ◽  
Vol 21 (3) ◽  
pp. 543-554
Author(s):  
Vladimir Alekseevich Avatkov
Keyword(s):  
Foreign Policy ◽  
International Relations ◽  
Main Task ◽  
Ruling Elite ◽  
Turkish Republic ◽  
Policy Goals ◽  
Power Change ◽  
The Republic ◽  
Republic Of Turkey ◽  
Made In

The paper explores the role and peculiarities of the populism in the modern foreign policy of the Republic of Turkey. Populism became especially popular in Turkeys foreign policy discourse when the Justice and Development Party came to power in 2002 and R.T. Erdoğan as President in 2014. Special attention is paid to R.T. Erdoğans populist statements made in the context of the key foreign policy ideologies - Neo-Ottomanism, Neo-Panturkism and Islamism. The propaganda of Neo-Ottoman ideas is aimed at restoring Turkey to its former Imperial greatness. The ultimate goal of Turkeys populism in Turkic states is to form a new Turkish-centric subsystem of international relations - the Turkic world. Turkeys Islamic populism within the country is primarily aimed at the conservative part of the population and at the world Islamic community on the international arena. The main task of such populism is the gradual abandonment of the principles of M.K. Ataturk and the secularism, as well as the formation of public opinion that Ankara is the center of the Islamic world. The author comes to the conclusion that Turkeys populism is quite effective and assists the ruling elite in achieving its foreign policy goals. In many ways, the success of Turkeys populism depends on the competent policy of its implementation by R.T. Erdoğan - a classic example of an Eastern politician with a charismatic type of leadership. However, the situation may change significantly in case of the power change in Turkey, emergence of a new leader and, consequently, new populist mechanisms.

scholarly journals The docudrama of a destiny: Bogdan Petriceicu Hasdeu

Arta ◽  
2021 ◽  
Vol 30 (2) ◽  
pp. 89-93
Author(s):  
Dumitru Olarescu ◽  
Keyword(s):  
Republic Of Moldova ◽  
Non Fiction ◽  
History Of ◽  
Television Film ◽  
Similarities And Differences ◽  
Biographical Film ◽  
The Republic ◽  
The Aesthetic ◽  
The One ◽  
Made In

First, a brief excursion is made in the evolution of the historical-biographical film in the Republic of Moldova by highlighting the stages and personalities from the history of this category of non-fiction films. The research focuses on the televised historical-biographical film Evocare. Bogdan Petriceicu Hașdeu/Evocation. Bogdan Petriceicu Hașdeu – a co-production of Romanian filmmakers (Romanian Television Film Studio) and the Republic of Moldova (State Company Teleradio Moldova) – dedicated to the eminent personality of the history of our culture – Bogdan Petriceicu Hașdeu. The authors of the film managed to evoke the multiple activity of the protagonist (writer, poet, playwright, scientist, folklorist and also the most dramatic moments of his troubled destiny. Some similarities and differences in the aesthetic conditions of the TV film and the one for the screen are revealed. The aesthetic peculiarities of the televised historical-biographical film were highlighted, the premises of its approach to docudrama – a species with a perspective of the non-fiction film.

Orosensory Perception, Speech Production, and Deafness

1973 ◽  
Vol 16 (2) ◽  
pp. 257-266 ◽  
Author(s):  
Milo E. Bishop ◽  
Robert L. Ringel ◽  
Arthur S. House
Keyword(s):  
High School ◽  
Speech Production ◽  
Poor Performance ◽  
Normal Hearing ◽  
The Other ◽  
Functional Disorders ◽  
Form Discrimination ◽  
School Subjects ◽  
Oral Form ◽  
Similarities And Differences

The oral form-discrimination abilities of 18 orally educated and oriented deaf high school subjects were determined and compared to those of manually educated and oriented deaf subjects and normal-hearing subjects. The similarities and differences among the responses of the three groups were discussed and then compared to responses elicited from subjects with functional disorders of articulation. In general, the discrimination scores separated the manual deaf from the other two groups, particularly when differences in form shapes were involved in the test. The implications of the results for theories relating orosensory-discrimination abilities are discussed. It is postulated that, while a failure in oroperceptual functioning may lead to disorders of articulation, a failure to use the oral mechanism for speech activities, even in persons with normal orosensory capabilities, may result in poor performance on oroperceptual tasks.

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