scholarly journals GENERAL OVERVIEW TO DRUM KIT IN TURKISH POPULAR MUSIC DURING THE PERIOD 1970-1980

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
Historical Development ◽  
Music History ◽  
Main Topic ◽  
Early 20Th Century ◽  
General Overview ◽  
Starting Point ◽  
Popular Music History ◽  
Set Up

The invention of Drum has been known to trace thousands of years.However, the drum kit came to exist in the early 20th century. Considering its historical development and our country's popular music history, development of this instrument in Turkey is the starting point of this research. In this study, the cults and playing attitudes that influenced the drummers, the location of drum kit in the studio environment, the set up prefrrences in the band with equipments used will be commented by analysing the data obtained via interviews. Within this framework, questions in 4 main topic have been asked to Osman İşmen and Turhan Yükseler, two of the significant arrangers of the period; Okay Temiz, one of the significant drummers of the period; Cahit Berkay, one of the founders of the band Moğollar; İsmail Soyberk, the bass-guitarist; the drummer Mert Türkmen as the representative of Cezmi Başeğmez. In accoedance with the data obtained, it has been concluded that jazz and rock drummers influenced our country, Anadolu Pop attitude was seen in the playing attitudes and set ups of that period drummers, Studio Hayri and sound technician Sıtkı Acim (tonmeister) rose to prominence in terms of studios where drum records were made, Ludwig drums were used together with Turkish brands in equipments. Keywords: Drum kit, drums, popular music, turkey, drummers, drum playing

What Makes It Sound ’80s?

2019 ◽  
Vol 31 (3) ◽  
pp. 73-94 ◽  
Author(s):  
Megan Lavengood
Keyword(s):  
Social Context ◽  
Popular Music ◽  
Visual Analysis ◽  
Music History ◽  
Ethnographic Study ◽  
Popular Music History ◽  
Cultural Positioning ◽  
The Web

Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Not only was this preset (E. PIANO 1) astonishingly prevalent—heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986—but the timbre of E. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a groundbreaking ’80s synthesizer; and two, cultural positioning in a greater lineage of popular music history. This article analyzes the timbre of E. PIANO 1 by combining ethnographic study of musician language with visual analysis of spectrograms, a novel combination of techniques that links acoustic specificity with social context. The web of connections created by the use and re-use of DX7 presets like E. PIANO 1, among hundreds or maybe thousands of different tracks and across genres, is something that allows modern listeners to abstract a unified notion of the “’80s sound” from a diverse and eclectic repertoire of songs produced in the 1980s.

scholarly journals Dangdut dan Rezim Orde Baru: Wacana Nasionalisasi Musik Dangdut Tahun 1990-an

2017 ◽  
Vol 12 (1) ◽  
pp. 22
Author(s):  
Derta Arjaya
Keyword(s):  
Popular Music ◽  
Music History ◽  
New Order ◽  
Popular Music History

This research tries to answer two main questions. First, what was the reason for the nationalization of dangdut in 1990s period. Second, how was the discourse taken place and who benefited from the nationalization of the popular music. History method is applied in this research, by using sources, such as, magazines, newspapers, books, scientific works, which are spread in several places. The main inventions of this research are, firstly, the nationalization of dangdut was strongly related to the development of dangdut in the 1970’s to 1990’s periods. Secondly, the strategy of the regime to nationalize dangdut in the middle 1990s was conducted through supporting the development of positive dangdut. Third, the nationatization of dangdut in the 1990s benefited both the New Order regime and dangdut itself.

scholarly journals Kryzys filozofii polityki

2011 ◽  
Vol 13 ◽  
pp. 23-42
Author(s):  
Barbara Markowska
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Theoretical Consideration ◽  
Scientific Discipline ◽  
Operating Conditions ◽  
Decisive Factor ◽  
Early 20Th Century ◽  
Leo Strauss ◽  
Set Up ◽  
Scholarly Pursuit

The purport of the article is a reflection on the operating conditions of the philosophy of politics, beginning with its crisis, as described by Leo Strauss in the early 20th century and continuing up to the latest proposals, which emerged at the turn of the 20th and 21st centuries. First, the author poses a question regarding the essence of this crisis; was it related to the scientific paradigm of the philosophy of politics applied hitherto or, rather, to the very subject matter of this scholarly pursuit, which is to say, to politics itself. A scientific discipline must be able to delineate its subject matter and if the latter undergoes an unexpected modification, the former suffers a crisis. Was this what happened to politics itself? What was the decisive factor which caused it to escape a theoretical consideration that ceased to be a systematic reflection, in short, ceased to be science, only to become philosophy again, whereby the author understands ‘philosophy’ as a level of reflection such as to allow itself to posit subliminal questions purely in order to set up the determinants for further thinking as to what science is, what politics is and what makes politics different from non-politics.

The Theoretical Foundations and Historical Development of Interdisciplinarity

2017 ◽  
pp. 1-13
Author(s):  
Mohammed Nasser Al-Suqri ◽  
Salim Said AlKindi
Keyword(s):  
20Th Century ◽  
Historical Development ◽  
Early 20Th Century ◽  
Theoretical Understanding ◽  
Research And Education ◽  
Theoretical Foundations ◽  
Over Time

The concept of interdisciplinarity has a long history but interpretations of this term and the importance of interdisciplinarity in research and education have varied over time. This chapter traces the theoretical understanding and historical development of interdisciplinarity to provide background and context for the book. First it examines the ways in which interdisciplinarity and similar phenomena have been conceptualized in the literature. A roughly chronological account of the main theoretical and empirical developments in interdisciplinarity is then set out, divided into three main periods dating from the early 20th century to the present day.

Protestant Confucianism: Kang Youwei’s Influence in Korea

Numen ◽  
2020 ◽  
Vol 67 (4) ◽  
pp. 347-372
Author(s):  
Uri Kaplan
Keyword(s):  
20Th Century ◽  
Religious Practice ◽  
Early 20Th Century ◽  
The Reformation ◽  
Set Up ◽  
The Impact

Abstract The impact of Kang Youwei’s Confucius-church movement has not been limited to China proper. Korean intellectuals in the early 20th century had been in contact with Kang and his students, set up affiliated institutions in their homeland, and authored creative manifestos on the reformation of Confucianism. This article surveys the reform proposals of four representative Korean Confucians and analyzes their support of, and negotiations with, Kang’s Confucius religion. It illustrates how some Korean reformers chose to adopt only Kang’s “state-protecting Confucianism” or join the movement in form but not in content, while others embraced his vision more fully, depicting their own perennial versions of the Great Unity, and developing original formats of Confucian religious practice. These proposals highlight the remarkable ways in which Protestantism served as a central model for the Confucian religious reforms of the early 20th century.

Übergang zur modernen sorbischen Poesie

2017 ◽  
Vol 62 (1) ◽  
Author(s):  
Dietrich Scholze-Šołta
Keyword(s):  
20Th Century ◽  
Lyric Poetry ◽  
Early Death ◽  
Nazi Regime ◽  
Starting Point ◽  
Set Up

SummaryThe Sorbian poet Jurij Chěžka (1917–1944), who suffered an early death, composed a body of poetry of “secondary” meanings between 1936 and 1938 as a student in Bohemia, which comprised about 50 poems. In these poems he combined themes such as his mother, his homeland, his people and death with national aspects of the Slav minority in Lusatia. Faced with the threat from the Nazi regime he created a new literary reality, whilst establishing links with concepts from the Czech symbolist movement. With his modernist revolt he at the same time set up a movement towards equal standing for the second autonomous line of evolution of Sorbian literature. His innovative aesthetic heritage became an important starting point for the distinctive development of Sorbian lyric poetry in the second half of the 20th Century.

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