scholarly journals Türk Sanat Müzikleri ve Türk Halk Müzikleri Dikotomisinde Önemli Bir Dinamik: “Toplumsal Katmanlar” / The Dichotomy between Art Music and Folk Music in the Framework of Turkish Traditional Music and its Relation with Social Layers

2018 ◽  
Vol 7 (2) ◽  
pp. 639 ◽  
Author(s):  
İlhan Ersoy
Keyword(s):  
Folk Music ◽  
Cultural Context ◽  
Traditional Music ◽  
Art Music ◽  
Ruling Class ◽  
The Public ◽  
Social Basis ◽  
Hybrid Culture ◽  
Musical Traditions ◽  
Different Cultures

<p><strong>Abstract</strong></p><p>This article examines the diversity in music with a “sociological/social” centered perspective. Based on the fact that music has a social basis independent of all other musical components, the article asserts that different societies have different kinds of music at both the national and international scale. In other words, the differentiation of societies also differs the music they produce and consume. This approach theoretically carries the subject over to the grounds of ethnomusicology which is a musical discipline that leans against anthropology.</p><p>The article first examines the relationship between music-society providing examples regarding the fact that there is a differentiation in music just as societies are separated into different layers. Afterwards, the relationships of <em>Turkish Art Music </em>and <em>Turkish Folk Music </em>with different social layers at different geographies are taken into consideration.</p><p>Secondly, the article also carries out evaluations on the differentiation of <em>Turkish Art Music </em>and <em>Turkish Folk Music</em> on a social basis as two different musical traditions of Turkey. It has been put forth through various examples in the article that Turkish Art Music is a music type that has developed under the auspices of the ruling class. Whereas Turkish Folk Music has not received sufficient attention from the ruling class even if it has been supported from time to time. In addition, it has been argued that Turkish Folk Music is a type of music that contains different cultures and local traces instead of being the only type of music adopted by the public.</p><p>The cultural context of music has been examined in the final section of the article thereby making evaluations by way of concepts such as public culture, learned culture and hybrid culture.</p><p><strong>Öz</strong></p><p>Bu makale, müzikteki çeşitliliği, “sosyolojik/toplumsal” merkezli bir bakış açısıyla incelemektedir. Yani makale, var olan diğer müziksel bileşenlerden bağımsız bir biçimde, müziklerin toplumsal bir zemini olduğundan hareket ederek hem ulusal hem de uluslararası ölçekte, farklı toplumların farklı müziklere sahip olduğunu savunmaktadır. Bir başka ifadeyle, toplumların farklılaşması, onların ürettikleri ve tükettikleri müzikleri de farklılaştırır. Bu yaklaşım, konuyu kuramsal olarak, antropolojiye yaslanan müziksel bir disiplin olan, etnomüzikoloji zeminine de taşımaktadır.</p><p>Makalede öncelikle müzik-toplum ilişkisi incelenerek toplumların farklı tabakalara ayrılması gibi müzikte de bir farklılaşmanın olduğu konusunda örnekler sunulmaktadır. Sonrasında ise <em>Türk Sanat Müziği</em> ve <em>Türk Halk Müziği</em> türlerinin farklı coğrafyalarda farklı toplumsal katmanlar ile ilişkisi ele alınmaktadır. </p><p>Makale ikinci olarak, Türkiye’deki iki farklı müzik geleneği olan <em>Türk Sanat Müziği</em> ve <em>Türk Halk Müziği</em> türlerinin toplumsal zemindeki farklılıkları üzerine değerlendirmeler yapmaktadır. Makalede, Türk Sanat Müziğinin yönetici sınıfın himayesinde gelişen bir müzik türü olduğu ile ilgili örneklere yer verilmiştir. Türk Halk Müziği ise zaman zaman yönetici sınıf tarafından desteklense de bu kesimden yeterli ilgiyi görememiştir. Buna ilaveten, Türk Halk Müziğinin halkın bütünü tarafından benimsenen tek bir müzik türü olmak yerine farklı kültürleri içerisinde barındıran ve yöresel izler taşıyan bir tür olduğu savunulmuştur.</p><p>Makalenin son bölümünde ise müziğin kültürel bağlamı incelenerek halk kültürü, öğrenilmiş kültür ve melez kültür gibi kavramlar üzerinden değerlendirmeler yapılmıştır.</p>

scholarly journals The Essence and Evolution of Song. By Vladimír Úlehla. Translated by Julia Ulehla; edited by Katherine Freeze and Richard K. Wolf.

2018 ◽  
pp. 1-136
Author(s):  
Julia Ulehla
Keyword(s):  
Biological Sciences ◽  
Folk Music ◽  
Art Music ◽  
Folk Songs ◽  
Poetic Structure ◽  
Musical Characteristics ◽  
Musical Modes ◽  
Magnum Opus ◽  
Musical Traditions ◽  
Living Organisms

Vladimír Úlehla (1888-1947) uses his expertise in the biological sciences to perform an in-depth and ecologically situated study of folk songs from his native Czechoslovakia. His posthumous magnum opus Živá Píseň (Living Song, 1949) chronicled the musical traditions of Strážnice, a small town at the western hem of the Carpathian Mountains at the Moravian-Slovakian border. Informed by four decades of ethnographic inquiry, transcription, and several music-analytical methods, in Chapter VI Úlehla considers the songs from Strážnice as living organisms, links them to their ecological environs, and isolates musical characteristics that he believes correspond to stages of their evolution. He discusses modulation, vocal style, ornamentation, melodic and poetic structure, and identifies a diverse array of musical modes—evidence that he uses to refute the prevailing assumption of the day that folk music was derivative of art music.

University Geographies and Folk Music Landscapes

2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake
Keyword(s):  
Mass Culture ◽  
Folk Music ◽  
Traditional Music ◽  
Rural Landscape ◽  
Power Structures ◽  
Distant Object ◽  
University Of Illinois ◽  
Liberal Politics ◽  
Cultural Form ◽  
The University

By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.

New Folk Music as Attempted Repatriation in Romania

2018 ◽  
pp. 436-452
Author(s):  
Maurice Mengel
Keyword(s):  
Mass Media ◽  
Folk Music ◽  
Cultural Policy ◽  
New Products ◽  
New Product ◽  
The State ◽  
State Institutions ◽  
The Public ◽  
Socialist State ◽  
New Form

This chapter looks at cultural policy toward folk music (muzică populară) in socialist Romania (1948–1989), covering three areas: first, the state including its intentions and actions; second, ethnomusicologists as researchers of rural peasant music and employees of the state, and, third, the public as reached by state institutions. The article argues that Soviet-induced socialist cultural policy effectively constituted a repatriation of peasant music that was systematically collected; documented and researched; intentionally transformed into new products, such as folk orchestras, to facilitate the construction of communism; and then distributed in its new form through a network of state institutions like the mass media. Sources indicate that the socialist state was partially successful in convincing its citizens about the authenticity of the new product (that new folklore was real folklore) while the original peasant music was to a large extent inaccessible to nonspecialist audiences.

The Impact of Culture on Reactions to Promise Breaches: Differences Between East and West in Behavioral Integrity Perceptions

2016 ◽  
Vol 43 (2) ◽  
pp. 273-315 ◽  
Author(s):  
Ray Friedman ◽  
Ying-Yi Hong ◽  
Tony Simons ◽  
Shu-Cheng (Steve) Chi ◽  
Se-Hyung (David) Oh ◽  
...  
Keyword(s):  
Cultural Context ◽  
Work Life ◽  
Communication Style ◽  
The West ◽  
Behavioral Integrity ◽  
Cultural Contexts ◽  
East And West ◽  
Different Cultures ◽  
The Impact ◽  
The U.S

Behavioral integrity (BI)—a perception that a person acts in ways that are consistent with their words—has been shown to have an impact on many areas of work life. However, there have been few studies of BI in Eastern cultural contexts. Differences in communication style and the nature of hierarchical relationships suggest that spoken commitments are interpreted differently in the East and the West. We performed three scenario-based experiments that look at response to word–deed inconsistency in different cultures. The experiments show that Indians, Koreans, and Taiwanese do not as readily revise BI downward following a broken promise as do Americans (Study 1), that the U.S.–Indian difference is especially pronounced when the speaker is a boss rather than a subordinate (Study 2), and that people exposed to both cultures adjust perceptions of BI based on the cultural context of where the speaking occurs (Study 3).

Transforming Labour: From the Workers’ State to the Post-Socialist Re-Organization of Industry and Workplace Communities

2017 ◽  
Vol 58 (2) ◽  
pp. 413-438
Author(s):  
Eszter Bartha
Keyword(s):  
Working Class ◽  
Historical Context ◽  
Symbolic Capital ◽  
Left Wing ◽  
Ruling Class ◽  
Social Basis ◽  
Standards Of Living ◽  
The Social ◽  
East German

Abstract The article seeks to place the workers’ road from socialism to capitalism in East Germany and Hungary in a historical context. It offers an overview of the most important elements of the party’s policy towards labour in the two countries under the Honecker and the Kádár regime respectively. It examines the highly paternalistic role of the factory as a life-long employer and provider of workers’ needs for the large industrial working class which the regime considered to be its main social basis. Given that the thesis of the working class as the ruling class was central to the legitimating ideology of the state socialist regimes, dissident intellectuals challenging this thesis were effectively marginalized or forced into exile. After the change of regimes, the “working class” again became an ideological term associated with the discredited and fallen regime. The article analyses the changes within the life-world of East German and Hungarian workers in the light of life-history interviews. It argues that in Hungary, the social and material decline of the workers – alongside the loss of the symbolic capital of the working class – reinforced ethno-centric, nationalistic narratives, which juxtaposed “globalization” and “national capitalism”, the latter supposedly protecting citizens from the exploitation by global capital. In the light of the sad reports of falling standards of living and impoverishment, the Kádár regime received an ambiguous, often nostalgic evaluation. While the East Germans were also critical of the new, capitalist society (unemployment, intensified competition for jobs, the disintegration of the old, work-based communities), they gave more credit to the post-socialist democratic institutions. They were more willing to reconcile the old socialist values which they had appreciated in the GDR with a modern left-wing critique than their Hungarian counterparts, for whom nationalism seemed to offer the only means to express social criticism.

Christianity and Literature: Covertly Public, Overtly Private

1998 ◽  
Vol 47 (3) ◽  
pp. 261-283
Author(s):  
Martin E. Marty
Keyword(s):  
Cultural Context ◽  
Annual Convention ◽  
Modern Language Association ◽  
Job Description ◽  
Modern Language ◽  
The Public ◽  
Public Religion ◽  
History Of ◽  
History Of Culture ◽  
Christian Century

This article is based upon an address to the Conference on Christianity and Literature at the Annual Convention of the Modern Language Association in Toronto on 29 December 1997. The invitation asked me to comment on the public/private distinction that I make as Director of the Public Religion Project and to accent the “cultural context,” which fits my History of Culture faculty assignment and three decades of writing Context, a newsletter relating religion to culture. I was to inform it theologically, which a divinity professor is supposed to be able to do, and to show some curiosity about the literary theme, as my decades-long stint as literary editor at The Christian Century should poise me to do. Under it all my limiting job description matches a badge provided me at a conference in Tübingen, where the hosts handed out identifications marked “Theologian of History,” “Theological Historian,” and “Historical Theologian.” Mine read simply, “Historical Historian.”—MEM

Joanna I of Anjou (1343–1382)

Encyclopedia ◽  
2021 ◽  
Vol 1 (4) ◽  
pp. 1303-1311
Author(s):  
Paola Vitolo
Keyword(s):  
Illuminated Manuscripts ◽  
Ruling Class ◽  
The Public ◽  
South Italy ◽  
Symbolic Representations ◽  
Works Of Art ◽  
Explicit Reference ◽  
Symbolic Image ◽  
Art And Architecture ◽  
The Church

Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship.

Landmarks in the Study of Improvisation

2014 ◽  
Author(s):  
Bruno Nettl
Keyword(s):  
Middle East ◽  
Folk Music ◽  
Research Study ◽  
Art Music ◽  
Jazz Improvisation ◽  
Single Model ◽  
Oral Transmission ◽  
Western Art ◽  
Music Making ◽  
History Of

Historically, research on improvisation has been related to the discovery of non-Western musics, folk music, and jazz, and has depended on the development of recording techniques for its principal kinds of data. The concept of improvisation is not unitary, but includes many vastly different kinds of un-notated music-making, which casts some doubt on the efficacy of the term itself. In the history of Western art music, improvisation was originally ignored or seen as craft rather than art, but since ca. 1980 it has occupied increased attention. The association of improvisation with oral transmission has sometimes been misunderstood. The most successful standard research study has been the comparison of performances based on a single model, for example, raga in India, maqam and dastgah in the Middle East, or a series of chord changes or a tune in jazz. Improvisation as a concept—for example, as a metaphor of freedom—has been important in recent research.

scholarly journals Trimming the social body

2017 ◽  
Vol 6 (2) ◽  
pp. 68-86 ◽  
Author(s):  
Jakob Krause-Jensen
Keyword(s):  
Social Workers ◽  
Cultural Context ◽  
Design Methodology ◽  
Unintended Consequences ◽  
Social Body ◽  
Content Type ◽  
The Public ◽  
Ethnographic Fieldwork ◽  
The Social ◽  
Management Concept

Purpose The purpose of this paper is to analyse through ethnographic fieldwork the social and cultural context and (unintended) consequences of introducing a management concept from the private sector (LEAN) into the public sector. Design/methodology/approach Ethnographic fieldwork combined with reading of reports and material. Findings The major findings are: first, Lean is seen in a cultural context, it is argued that the persuasiveness of Lean depends on building a metaphorical connection between organizational aims and individual experiences and bodily ideals; second, Lean purports to be a win-win game and road to eliminating “waste” through worker participation, empowerment and enthusiasm. The research points to the contrary. Lean was met with scepticism and was seen by the social workers as a waste of time. Originality/value As demonstrated in the paper, the vast majority of research published about Lean is hortatory in nature. It is recipe books trying to convince readers of the benefits of introducing Lean. This paper, on the contrary, attempts an open ethnographic exploration of the Lean process and its social and cultural ramifications.

scholarly journals On the Acceptability of English Translation of Public Signs

2019 ◽  
Vol 9 (10) ◽  
pp. 1315
Author(s):  
Zhengjun Yang
Keyword(s):  
English Translation ◽  
Cultural Context ◽  
Cultural Awareness ◽  
Cross Cultural ◽  
The Public ◽  
Cross Cultural Communication ◽  
Scenic Spot ◽  
Informative Role ◽  
Communication Activity ◽  
The Common

The public sign, a “window” of a city or scenic spot, carries more information and plays the informative role in people’s daily life. The translation of public signs not merely transfers the linguistic information of the signs, but also acts as a cross-cultural communication activity. The study analyzes the types of public signs, investigates the common mistakes of English translation of public signs, and puts forward some suggestions for the public signs translation. The improvement of translators’ competence and cross-cultural awareness, the uniformity of the text, readers’ response, and the cultural context should be taken into consideration. They can contribute to the greater acceptability of public signs translation.

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