Relevant bibliographies by topics / Music Turkey History and criticism

Academic literature on the topic 'Music Turkey History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 30 July 2024

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Journal articles on the topic "Music Turkey History and criticism"

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Furani, Khaled. "Said and the Religious Other." Comparative Studies in Society and History 52, no. 3 (June 18, 2010): 604–25. http://dx.doi.org/10.1017/s0010417510000320.

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Whether observed in French laïcité, Kemalist Turkey, Kantian political theory, Western Christian theology, or North Indian classical music, the presence of modern secularity has been demonstrably complex (Asad 2003; Bakhle 2008; Blumenberg 1985; Connolly 1999; Navaro-Yashin 2002). My purpose in this essay is to further examine the intricacies of the modern secular, specifically its relation with what it deems “religious.” My focus will be Edward Said, whose paradigmatic engagement in secular, critical, and comparative inquiry makes his work an ideal place to investigate the modern apparition of the secular. It is widely acknowledged that Orientalism (1979) led to a profound transformation of entire fields of inquiry in the humanities and social sciences, and even the creation of new ones. Said's work as a practice of criticism has been instrumental in addressing the affinities between forms of knowledge and domination, especially in their colonial variety. However, studies of his writings have only recently begun to address the topic of modern secularism in his work, which will be at the center of this paper (e.g., Mufti 2004; Hart 2000; Anidjar 2006; Apter 2004; Robbins 1994; Gourgouris 2004).
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Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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Botstein, L. "Witnessing Music: The Consequences of History and Criticism." Musical Quarterly 94, no. 1-2 (March 1, 2011): 1–8. http://dx.doi.org/10.1093/musqtl/gdr001.

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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.

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Vojvodić Nikolić, Dina D. "PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI." Nasledje Kragujevac XX, no. 55 (2023): 299–312. http://dx.doi.org/10.46793/naskg2355.299vn.

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The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.
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Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (October 2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.

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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, but also their fight against injustice. The music remembers their loves as well as their losses.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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kang, sun ha. "The Problems an Improvement Direction of High School Music Appreciation and Criticism Textbook." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 17 (September 15, 2023): 1–15. http://dx.doi.org/10.22251/jlcci.2023.23.17.1.

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Objectives This study examines the problems in the contents of high school textbook Music Appreciation and Criticism, and proposes improvement directions accordingly. Methods For this purpose, the 2015 revised textbook Music Appreciation and Criticism's unit composition, organization, and Gugak contents were analyzed. Results The problems of high school music appreciation and criticism education are, first, that Gugak is not universally covered in music. Second, the majority of music pieces overlapped with general Music textbooks, and third, the fact that the description of Gugak was remarkably lacking compared to Western music history, and fourth, there was no concept and critical awareness of Gugak criticism. Since music appreciation and criticism education is a special subject for students majored in music, it should have more advanced content than general Music textbooks, but there was room to instill musical prejudice. Conclusions The improvement direction for these problems is, first, to understand Korean traditional music universally. Second, a critical mind about the criticism of Gugak will be preceded. Third, future-oriented education with the context of the times was to be pursued. Fourth, appreciation music was to be presented in a more diverse way and learning contents were to be converged. When these suggestions for improvement are fully considered and improved, the appreciation and criticism of Gugak can also develop in a creative direction.
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Pritchard, Matthew. "The Cambridge History of Music Criticism. Ed. by Christopher Dingle." Music and Letters 101, no. 4 (November 1, 2020): 785–88. http://dx.doi.org/10.1093/ml/gcaa068.

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Dissertations / Theses on the topic "Music Turkey History and criticism"

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Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

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555 pages
This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire.
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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

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Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.

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This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following a look at specific musical effects used by Debussy that reveal the influence of the Orient, this paper surveys an extensive body of his piano music chronologically, focusing on compositional techniques that were learned from the Asian ensembles at the cultural exhibits of the Paris Expositions. This paper reveals the depth of the Oriental influence in Debussy's piano music.
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Books on the topic "Music Turkey History and criticism"

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Reisman, Arnold. Post-Ottoman Turkey: Classical European music & opera. [Charleston, S.C: BookSurge Publishing], 2008.

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Reisman, Arnold. Post-Ottoman Turkey: Classical European music & opera. [Charleston, S.C: BookSurge Publishing], 2008.

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Stokes, Martin. The arabesk debate: Music and musicians in modern Turkey. Oxford: Clarendon Press, 1992.

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Türkmen, Uğur. In which direction is music heading?: Cultural and cognitive studies in Turkey. Newcastle upon Tyne: Cambridge Scholars Publishing, 2015.

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Emre, Aracı, Donizetti Giuseppe 1788-1856, and Bergamo Musica Festival Gaetano Donizetti, eds. Giuseppe Donizetti Pascià: Traiettorie musicali e storiche tra Italia e Turchia = Giuseppe Donizetti Pasha : musical and historical trajectories between Italy and Turkey. Bergamo: Fondazione Donizetti, 2010.

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Institut für Volksmusikforschung und Ethnomusikologie--Wien. Music from Turkey in the Diaspora: [proceedings of the international symposium held in Vienna in November 2007, organized by the UNESCO Working Group Vienna and the Institute of Folk Music Research at the University of Music and Performing Arts Vienna]. Wien: Institut für Volksmusikforschung und Ethnomusikologie, 2008.

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Ălīmgereev, Ȯtepbergen. Ku̇ī-ku̇mbez: Qūrmanghazy mektebīnen︠g︡ tėlīm alghan ku̇ĭshī, dombyrashylar turaly ėsseler men ocherkter. Almaty: ȯner, 1997.

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Beli͡aev, V. Turkmenskai︠a︡ muzyka. Almaty: Soros-Kazakhstan, 2003.

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Karakulov, B. I. (Bulat Ishanbaevich), editor of compilation and Utegalieva, S. (Saule), compiler, editor of compilation, eds. Muzyka ti︠u︡rkskogo mira: Materialy Pervogo mezhdunarodnogo simpoziuma, Almaty, 3-8 mai︠a︡ 1994 = Tŭrkī alemīnīn︠g︡ muzykasy : I-shi khalyqaralyq simpoziumynyn︠g︡ materialdary, Almaty, 3-8 mamyr 1994 zh. = Music of the Turkic world : Reports of the First International Symposium, Almaty, 3-8 May 1994. Almaty: Izdatelʹstvo "Daĭk-Press,", 2009.

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Hammarlund, Anders. Yeni sesler, nya stämmor: En väg till musiken i det turkiska Sverige. Stockholm: Stockholms universitet, 1993.

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Book chapters on the topic "Music Turkey History and criticism"

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Wehrs, William. "Affect and Film Music: A Brief History." In The Palgrave Handbook of Affect Studies and Textual Criticism, 735–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63303-9_28.

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Brüstle, Christa. "Gender Issues as Criticism Within (New) Music Institutions." In New Music and Institutional Critique, 49–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_3.

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AbstractWhy is the thematisation of gender linked to social criticism and criticism of music institutions as well as criticism of music as institution? Institutions and institutionalised organisations should be regarded as intermediate instances located between society as a whole and the individual. In them, gender relations are created and reproduced, discussed, and transformed. The thematisation of gender and the associated criticism within institutions then means, above all, dealing with gender-specific power relations. Moreover, the spectrum of approaches in art and art studies for thematising gender ranges from criticism of the exclusion of women from history to criticism of the dominance of certain discourses. Therefore, the integration of gender in the field of music implies aspects and measures of institutional gender equality policy as well as fundamental perspectives critical of music discourses, music theory, and musicology, and thus also institutionally critical perspectives.
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Iddon, Martin. "Darmstadt and Its Discontents." In New Music and Institutional Critique, 69–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_4.

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AbstractThough the Darmstadt New Music Courses have often been the site of critique, relatively few of those critiques have brought about concrete change. This might be illustrated in its fullest form in the history of the courses in the 1970s. A sequence of protests appear, on the superficial level, to have been the proximate cause for a gradual transformation of the institution, in its move away from the authority of its earlier senior figures in favour of a more egalitarian model, where different approaches can co-exist. Yet this history belies the ways in which that apparent diversity both repeats the ways in which the territory of new music was historically divided up and that territorial disputes actually prevent criticism of the institution itself, critiques which were being undertaken by a small group of composers who arguably represented a very different possible, unrealised future for new music in the 1980s: Fernando Grillo, Moya Henderson, Christina Kubisch, and Davide Mosconi.
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Schwaderer, Isabella. "Death and Transfiguration: Religion and Belonging in Felix Gotthelf’s Indian Opera Mahadeva (1910)." In Palgrave Series in Asian German Studies, 89–114. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-40375-0_5.

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AbstractDoctor, composer, and Schopenhauer enthusiast Felix Gotthelf (1857–1930) created a symphonic drama Mahadeva (1910) in which he transformed a Goethe ballad into a religious–artistic manifesto. He combined Indian philosophy, as popularized by Paul Deussen, with Christianity and Schopenhauer’s philosophy. Inspired by Richard Wagner, he attempted an Indo-German national and religious revival in music based on a romantic conception of art and religion. It was in effect a conservative reorientation of a philosophical and artistic appropriation of Indian scriptures that betrayed attempts to establish the social ethos of the late German Empire as autochthonous and within the tradition of German intellectual and Reformation history. The author’s contribution is to examine the interconnections between religion, national revival, and music in the context of widespread cultural criticism shortly before the First World War.
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"History and Criticism." In Italian Ars Nova Music, 13–74. 2nd ed. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8306149.10.

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Dahl, Per. "Music Criticism in Norway." In The Cambridge History of Music Criticism, 392–407. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.021.

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Karnes, Kevin C. "MUSIC CRITICISM AS LIVING HISTORY." In Music, Criticism, and the Challenge of History, 48–76. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195368666.003.0003.

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Frey, Emily. "Music Criticism in Imperial Russia." In The Cambridge History of Music Criticism, 208–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.012.

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Watt, Paul. "British Music Criticism, 1890–1945." In The Cambridge History of Music Criticism, 371–91. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.020.

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Racz, Mark. "Jazz Criticism in America." In The Cambridge History of Music Criticism, 459–83. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.025.

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Conference papers on the topic "Music Turkey History and criticism"

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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
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