BIBLIOGRAPHICAL ANALYSIS OF THE STUDIES ON THE PHILOSOPHY OF MUSIC IN TURKEY

Philosophy of music constitutes a wide area of research as a branch of music. It is observed that studies on the subject have increased in recent years. Since the philosophy of music has an interdisciplinary feature, it has been observed that there are writers from different fields. The aim of this research is to examine the scientific studies (graduate theses and articles) on the Philosophy of Music in Turkey by the bibliographic method. The research is based on the descriptive model and literature review and was performed using the bibliographic method. The study is important in terms of giving researchers a detailed framework and providing clues about the literature. In the research, YÖK (Council of Higher Education) National Thesis Center was used to scan the theses, and Dergipark, ULAKBİM (Turkish National Academic Network and Information Center), and Google Scholar databases were used to scan the articles. As a result of the research, 30 theses related to the Philosophy of Music in Turkey were reached. It was determined that 6 of the theses are doctoral studies and 24 of them are graduate studies. A total of 93 articles on the Philosophy of Music, 62 of which were published in international and 31 in national journals, were reached. When the areas of expertise of the researchers were examined, it was seen that they were among the fields of “Music” (30), “Philosophy” (21), “Music and Philosophy” (4), and “Theology and Philosophy of Religion” (11). However, it was determined that there are writers/researchers from different fields of study such as Communication, Political Science, Business, Economics, Geography, History, Art History, Painting, Literature. Key words: Music, philosophy, philosophy of music, bibliography

John Elder Moultray (1865-1922) History Painter or Historical Journalist?

<p>This thesis was undertaken to investigate J. Elder Moultray‘s history paintings, his broader artistic oeuvre and journalistic output, and to place him in the context of nineteenth-century New Zealand art, journalism and the history painting genre generally. It is also intended to fill a lack of previous art-historical scholarship surrounding Moultray and his history paintings. Moultray‘s own diaries and published articles, as well as newspaper reports about him, provide a biographical sketch of his life and his own views on art history. A discussion of the development of the history painting genre, a detailed analysis of his history paintings and comments on his paintings from critics, both during his lifetime and after, leads to a number of conclusions. These suggest that Moultray‘s diminished reputation as an artist has resulted from a number of factors, including changing fashions in artistic styles, poor documentation in the referencing of his works, and a changing political climate which has desired to leave behind uncomfortable images of the New Zealand colonial wars. The latter is related to both his contemporary marginalisation and the deterioration of many of his paintings in the public domain. Unpicking the layers of Moultray‘s history paintings reveals their relevance to contemporary art-historical issues. In addition, Moultray‘s resistance to modernism and continuation of a nineteenth-century academic art practice into the twentieth century provides today‘s art historians with considerable insights. By exploring a body of Moultray‘s paintings, in tandem with his writings about art, the thesis reveals a significant contribution to New Zealand art history.</p>

John Elder Moultray (1865-1922) History Painter or Historical Journalist?

<p>This thesis was undertaken to investigate J. Elder Moultray‘s history paintings, his broader artistic oeuvre and journalistic output, and to place him in the context of nineteenth-century New Zealand art, journalism and the history painting genre generally. It is also intended to fill a lack of previous art-historical scholarship surrounding Moultray and his history paintings. Moultray‘s own diaries and published articles, as well as newspaper reports about him, provide a biographical sketch of his life and his own views on art history. A discussion of the development of the history painting genre, a detailed analysis of his history paintings and comments on his paintings from critics, both during his lifetime and after, leads to a number of conclusions. These suggest that Moultray‘s diminished reputation as an artist has resulted from a number of factors, including changing fashions in artistic styles, poor documentation in the referencing of his works, and a changing political climate which has desired to leave behind uncomfortable images of the New Zealand colonial wars. The latter is related to both his contemporary marginalisation and the deterioration of many of his paintings in the public domain. Unpicking the layers of Moultray‘s history paintings reveals their relevance to contemporary art-historical issues. In addition, Moultray‘s resistance to modernism and continuation of a nineteenth-century academic art practice into the twentieth century provides today‘s art historians with considerable insights. By exploring a body of Moultray‘s paintings, in tandem with his writings about art, the thesis reveals a significant contribution to New Zealand art history.</p>

Painting historiography: Meleko Mokgosi's Democratic Intuition

This interview focuses particularly on Democratic Intuition (2013-20), Meleko Mokgosi's epic, eight-chapter painting cycle, the title of which references Gayatri Spivak's lecture on the necessary relationship between education and democracy. Education, reflection on theory and practice and engagement with young practitioners are all important parts of Mokgosi's work. The interview discusses the way the chapter format of Democratic Intuition is influenced by film processes, and the research and critical analysis on which his work is based; this includes historiography; the western genre of history painting; narrative tropes and the work of Hayden White; and painting techniques that more accurately construct Black skin tones. It also discusses discourses of race and assumptions about whiteness in the western canon; and whether there is a possibility for the Black subject to inhabit allegorical representational space without being overdetermined by histories of Blackness and race discourse. Stuart Hall's work has been important to Mokgosi because of its analysis of the complexities of the discourses within which cultural production and consumption is located. This has been helpful for reflecting on the location of the western art tradition within discourses of the Enlightenment and western humanism, which provide specific rules of circulation and consumption, and structures of authority. Such discourses assume that the viewer has the necessary tools or literacies to read in order to arrive at the meanings proposed in cultural objects. Mokgosi is engaged in continuous reflection on the extent to which, in spite of this, he, as a particular subject from Botswana, has managed to locate meaning within the narrow practice of painting.