Journal articles on the topic 'Music Turkey History and criticism'
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1
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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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (1990): 251–65. http://dx.doi.org/10.2307/763570.
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Parakilas, James. "The Afterlife of Don Giovanni: Turning Production History into Criticism." Journal of Musicology 8, no. 2 (April 1990): 251–65. http://dx.doi.org/10.1525/jm.1990.8.2.03a00040.
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Markoff, Irene. "Introduction to Sufi Music and Ritual in Turkey." Middle East Studies Association Bulletin 29, no. 2 (December 1995): 157–60. http://dx.doi.org/10.1017/s0026318400031552.
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It is difficult to appreciate and understand Sufism fully without an informed exposure to the expressive cultural forms that help define and enhance it. It is this dimension of Islamic mysticism that transports the seeker on the path of spiritual attainment into higher states of consciousness that promise spiritual intoxication (Wajd) and a unique and intimate union, even annihilation (fanā), in the supreme being. This emotional expression of faith is intensified and externalized in elaborate forms of meditation and esoteric techniques that are part of ritual ceremonies.Through ritual, many Sufi orders and Sufi-related sects throughout the world of Islam have been able to articulate doctrines and beliefs through artistic traditions such as sung poetry, instrumental music and dance-like movements (samā’ or spiritual concerts) and have utilized meditation patterns that combine corporeal techniques and controlled breathing (dhikr, Turkish, zikr) to induce or conduct trance and ecstatic states.
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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.
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Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.
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Gedik, Ali C. "Reflections on Popular Music Studies in Turkey <br>http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.6en." IASPM Journal 2, no. 1-2 (January 18, 2012): 51–56. http://dx.doi.org/10.5429/551.
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This article reviews the state of popular music studies in Turkey in comparison to IASPM's Anglo-American history of popular music studies. The main focus is on the similarities and dissimilarities in studies based on shifts in paradigms: firstly the shift from the sociology of arabesk music in Turkey and sociology of rock music in the Anglo-American popular music studies, to the sociology of popular music; secondly, a parallel shift in theoretical premises, from Marxism to postmodern theories. Mapping the achievements of popular music studies in Turkey in relation to the study of popular musics that have dominated specific eras, it is shown that despite earlier divergences from the 1990s onwards, Turkish popular music studies gradually converged with international popular music studies.
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Dickinson, Peter. "Review: Maestros of the Pen: A History of Classical Music Criticism in America." Music and Letters 83, no. 4 (November 1, 2002): 631–34. http://dx.doi.org/10.1093/ml/83.4.631.
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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*." Renaissance Quarterly 41, no. 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.
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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.
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Watt, Paul, and Sarah Collins. "Critical Networks." Nineteenth-Century Music Review 14, no. 1 (April 2017): 3–8. http://dx.doi.org/10.1017/s1479409816000252.
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This article examines the idea of ‘Critical Networks’ as a way of studying the relational structures that shaped music criticism in the long nineteenth century. We argue that the personal, institutional and international networks that supported the dissemination of critical ideas about music are worthy of study in themselves, as they can yield insights beyond prevailing methodologies that centre on individual cases.Focusing on the institutional culture of music criticism means looking beyond the work of individual critics and the content or influence of their views, towards the structures that determined the authoritativeness of those views and the impact of these structures in shaping the operation of critical discourse on music at the time. Examining these networks and how they operated around particular periodicals, tracing transnational exchanges of both ideas and critics, and uncovering the various ideological alliances that were forged or contested within critical networks, can not only provide a thicker context for our understanding of historical ideas about music, but it can also challenge current views about the history of our discipline and the kinds of structures that condition our own ideas about music and music history.
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Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (February 2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.
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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.
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Heller, George N., and Mark N. Grant. "Maestros of the Pen: A History of Classical Music Criticism in America." History of Education Quarterly 39, no. 2 (1999): 212. http://dx.doi.org/10.2307/370046.
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Vasic, Aleksandar. "The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals." Muzikologija, no. 29 (2020): 121–47. http://dx.doi.org/10.2298/muz2029121v.
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From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed that in ?Slavic music? were crossed the Slavophile idea, which has a long tradition among Serbs, and Marxism, at that time strongly represented by one part of Belgrade musicians. The study also contains an integral bibliography of ?Slavic music?, which has not been published so far.
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Karahan, Madina. "Ahmad bay Aghaoglu’s Activity in Literary and Cultural Criticism." Khazar Journal of Humanities and Social Sciences 22, no. 4 (December 2019): 45–57. http://dx.doi.org/10.5782/2223-2621.2019.22.4.45.
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Ahmad Bay Aghaoglu played a significant role as a public figure, publicist, politician, lawyer, scientist, and intellectual in the literary and public thoughts and the political life of the history of the 20th century of our country. His activity and works had a great impact on the public processes in Azerbaijan and Turkey, as well as Europe. In the activity of A.Aghaoglu, his literary and scientific works have an important place; i.e. he has also historical and literary essays in addition to his works dedicated to socialpolitical issues, which characterizes him as a critic, literary critic and culturologist. His addressing to literary and scientific issues as the occasion arises in many of his works, articles, letters and memoirs and opening discussions enables us to assess him as a critic, literary critic, historian and sociologist in the literary environment of Turkey. The Thesis studies the issues that Ahmad Bay Aghaoglu researched as a researcher, literary critic and historian, and the printed works covering these issues, and expresses an opinion.
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Brown, Howard Mayer. "Recent Research in the Renaissance: Criticism and Patronage*." Renaissance Quarterly 40, no. 1 (1987): 1–10. http://dx.doi.org/10.2307/2861832.
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The book that everyone in musicology is talking about this year—not just those of us working in the fifteenth and sixteenth centuries—is Joseph Kerman's Contemplating Music (Cambridge, Mass.: Harvard University Press, 1985; called simply Musicology in the English edition). In it, Kerman argues against what he calls positivism, which he defines as a rigid and non-judgmental pursuit of dry facts, and in favor of the higher criticism, by which he seems to mean analysis—or at least some penetrating discussion of the way individual pieces work and what makes them great—informed by a sense of history and written in a humanistic style, with a personal commitment on the part of the author to the quality of the music with which he is concerned.
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Currey, Nancy E. "History in Contemporary Practice: Syria’s Music Canon." Middle East Studies Association Bulletin 36, no. 1 (2002): 9–19. http://dx.doi.org/10.1017/s0026318400044023.
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A consideration of the contemporary musical soundscape in Syria provides unique insights into how Syrians of multiple classes and generations discriminate between critical points in their own past, who they perceive they are today, and how they might think about their future. This review, based on fieldwork in Syria conducted between 1997 and 2001, suggests that people in Syria can use music to negotiate the following complex issues: 1) the struggle between an identity rooted in the modern nation-state of Syria and one rooted in the more traditional concept of ‘Bilad al-Sham’ (roughly ‘the lands governed from Damascus,’ a region that included all of modern Lebanon, as well as portions of Turkey, Palestine, and Jordan); 2) the struggle between a Syrian identity and an Arab identity; and 3) the maintenance of a strongly Arab and necessarily anti-Western canon.
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Akyiğit, Handan. "Methodological Criticism of Nationalism." Journal of Humanity and Society (insan & toplum) 11, no. 1 (2021): 31–68. http://dx.doi.org/10.12658/m0434.
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Theories of nationalism have become questionable in their own contexts with increasing interest in critical theory in sociology. Particulalry, the methods and principles of the methodological nationalism approach called as fundamentalist are questioned. The reason for the questioning of methodological nationalism is mainly attributed to its positivist understanding, universalist view of the nation and history and Eurocentric expansionist understanding. A common problem at this point of criticism is connected to the disregard of human action and social culture. The main theme of this study is the issues that methodological nationalism is in a dilemma due to its epistemological and ontological assumptions. By doing this, particular concepts of two areas will be used: constructivist theory and dialectical integrity. In this context, the principles of a new method will be discussed in order to overcome the shortcomings of methodological nationalism. The principles of the proposed method will be exemplified in the context of multiculturalism which is the subject of debate in Turkey and imagination of culture and society presented by identity politics. Therefore, the aim of this study is to show how a reading of nationalism based on historical sociology and constructivist sensibility can pave the way for new perspectives rather than a deconstruction of theories of nationalism.
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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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Branscombe, P. "E. T. A. Hoffmann's Musical Writings: 'Kreisleriana', 'The Poet and the Composer', Music Criticism." German History 10, no. 2 (January 1, 1992): 248–50. http://dx.doi.org/10.1093/gh/10.2.248.
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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.
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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.
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SÜLÜN, Ebru Nalan. "A LOST NAME IN THE HISTORY OF TURKISH ART: ARİF DİNO." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 454–75. http://dx.doi.org/10.7456/11102100/009.
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Arif Dino is one of the important figures in the contemporary art and culture history in Turkey. His is the brother of Abidin Dino who is one of the important artists of Turkish Contemporary art history. Playing a major role in the development of Abidin Dino's artistic style. Arif Dino is a figure who contributed to culture and arts scene of Turkey with his paintings in addition to his passion for sports, his designs, poetry, and articles of art criticism. This study is carried out in order to create a literature on Arif Dino, who was not involved in exhibitions and in research as much as his brother Abidin Dino, and in order to examine the artistic interaction between him and Abidin Dino. Arif Dino is an artist known for his versatile, unique and creative personality. In addition to his personality as a poet and a sportsman, he also produced works as exhibition stand and book cover designer in the Early Republican Period of Turkey. In this context, Arif Dino's artistry and works as well as his artistic ties with Abidin Dino will be analyzed.
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Fry, Katherine. "Nietzsche's Critique of Musical Decadence: The Case of Wagner in Historical Perspective." Journal of the Royal Musical Association 142, no. 1 (2017): 137–72. http://dx.doi.org/10.1080/02690403.2017.1286130.
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ABSTRACTAlthough philosophical and biographical accounts of Nietzsche and Wagner abound, the musical issues at stake in the late text Der Fall Wagner (The Case of Wagner, 1888) have rarely been addressed within their wider cultural context. This article explores the nineteenth-century concepts of decadence and degeneration as relevant for understanding the ambivalence of Nietzsche's late critique of Wagner. Emphasizing his affinity with contemporary French criticism, it argues that his late texts advance a theory of decadence pertinent to current music history and criticism. It locates The Case of Wagner within the larger discourse of degeneration, probing similarities to and differences from the work of surrounding critics of Wagnerism. Nietzsche's critique combines a condemnation of Wagner's music with a more positive appreciation of the composer's historical relevance. Yet his writings also reveal a fundamental conflict between his personal involvement with Wagner's music and his philosophical quest to analyse this music as expressive of modernity.
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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.
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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Zuk, Patrick. "Words for music perhaps? Irishness, criticism and the art tradition." Irish Studies Review 12, no. 1 (April 2004): 11–29. http://dx.doi.org/10.1080/0967088042000192086.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.
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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.
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Ergin, Murat. "On Humans, Fish, and Mermaids: The Republican Taxonomy of Tastes and Arabesk." New Perspectives on Turkey 33 (2005): 63–92. http://dx.doi.org/10.1017/s0896634600004246.
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This essay analyzes arabesk, a form of popular music in Turkey, as it pertains to debates around culture, politics, and modernity. I argue that arabesk, rather than being limited to discussions of music as an aesthetic form, reveals important issues as to the historical unfolding of discursive patterns that still very much outline the boundaries of cultural debates in Turkish society. The historic changes of arabesk music corresponds to turning points in the cultural and political history of Turkey. Furthermore, following the historical trajectory of arabesk makes it possible to analyze large-scale transformations in the ideological landscape of Turkey. In order to understand the complexity of these issues, it is important to trace the historical foundations of Turkish cultural politics, especially during the early Republican era (1920-1950), which was formative in establishing and maintaining an extensive regime of cultural classification.
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Güçlü, Yücel. "Nyon Conference of 1937 on the Prevention of Piratical Acts in the Mediterranean and Turkey." Belleten 66, no. 246 (August 1, 2002): 531–48. http://dx.doi.org/10.37879/belleten.2002.531.
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In August 1937 indiscriminate attacks upon merchant ships in the Mediterranean by unidentified submarines had begun. Most alarming for Turkey, some of these submarines were operating inside the Straits. On 10-14 September 1937 an international conference, on the initiative of Britain and France, was organised at Nyon for ending the existing state of insecurity in the Mediterranean. On 14 September, it was agreed that pirate submarines should be counter-attacked and destroyed. Turkey promised to provide bases for the patrolling vessels. Turks were also responsible for patrols in the Dardanelles. The outcome of the conference was welcomed by Atatürk, whereas İnönü's reaction was mixed. i.e. one of criticism and praise. Turkey, on Atatürk's instructions, co-operated fully in the international patrol set up by the conference to suppress pirate submarines. But İnönü showed caution over the agreement, apprehending about a war with Italy. The measures agreed upon at Nyon proved effective. Submarine piracy quickly disappeared. By its signature of the Nyon Agreement, Turkey stressed its interest in preserving the status quo and the principle of collective security. It was therefore drawn towards closer co-operation with Britain and France. The trend towards rapprochement was reciprocal, since these two countries also needed Turkey's co-operation.
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BARONTINI, MICHELE, and TITO M. TONIETTI. "ʿUMAR AL-KHAYYĀM’S CONTRIBUTION TO THE ARABIC MATHEMATICAL THEORY OF MUSIC." Arabic Sciences and Philosophy 20, no. 2 (August 26, 2010): 255–80. http://dx.doi.org/10.1017/s0957423910000032.
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AbstractWe here present the Arabic text, with an English translation, of certain pages dedicated by al-Khayyām to the mathematical theory of music. Our edition is based on a manuscript extant in a library in Manisa (Turkey), and corrects the mistakes found in another transcription. Lastly, we compare the theory of al-Khayyām with other Arabic theories of Music, and with those coming from other traditions.
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AVDYLİ, Merxhan, and Veli KRYEZİU. "Folk Songs about Canakkale in Albanian History and Literature." Rast Müzikoloji Dergisi 10, no. 2 (June 30, 2022): 289–309. http://dx.doi.org/10.12975/rastmd.20221028.
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Albanian culture coexisted for a period of over 500 years with Ottoman culture, at the turn of the new century, along with the Balkan troubles that led to the continued embrace of the transition from an old culture to the ideology of the Young Turk movement, and the continuation of joint Albanian-Turkish actions, in order to protect the Albanian Vilayets from the Serbo-Montenegrin occupiers. Early nineteenth-century Turkey emerged from bloody wars on all sides of its borders and from a weak government led by Abdul Hamid II faced a new war in 1915 now in defense of the Dardanelles in the bloodiest battle "The Battle of Canakkale". The First World War found Albanians divided and occupied in some of its territories, however, from 1912 Albania had declared Independence, but Kosovo, Skopje and Bitola, Ulcinj and Bar had remained outside the borders, while Chameria - the South of Albania had been invaded by Greece. During the First World War a large number of Albanians remained in the Turkish military service, many others joined the Turkish army, mainly Albanians who had migrated to Turkey from the violence of the Serbo-Montenegrin invaders, as well as some more from Kosovo, Skopje, Tetovo, Presevo, Shkodra, Ulcinj, etc who volunteered to help the Turkish army. According to history, oral literature and written documents, many Albanians died heroically, it is said that about 25,000 martyrs had died in this battle. In their honor, the Albanian people composed songs, it is worth mentioning the "song dedicated to the Battle of Canakkale" by the most prominent folklorists of the Albanian nation. Our research was done through a semi-structured interview with: 5 teachers of Albanian literature (at the same time master’s students at the University "Kadri Zeka" in Gjilan, Kosovo); 5 history teachers (at the same time master’s students at the University of Prishtina “Hasan Prishtina”, Prishtina, Kosovo); 2 independent researchers from the Institute of History "Ali Hadri" Prishtina, Kosovo.
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Souza, Alberto Carlos de. "The language of the art of music: an overview of its history in Brazil." Humanum Sciences 3, no. 1 (August 5, 2021): 32–40. http://dx.doi.org/10.6008/cbpc2674-6654.2021.001.0004.
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This study sought to re-visit the two conceptions of Art – pedagogical and reflective - forged throughout history and its relationship with the Brazilian aesthetic thought of resistance. From the 60's, such thinking has given a pedagogical purpose to art, charged with the task of social criticism and political engagement human emancipatory: in this scenario mainly determined by the Theater of the Oppressed, the new movies and the protest song by Milton Nascimento, , Caetano Veloso, Chico Buarque, Gilberto Gil, among many others.
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Bakhle, Janaki. "Music as the Sound of the Secular." Comparative Studies in Society and History 50, no. 1 (January 2008): 256–84. http://dx.doi.org/10.1017/s0010417508000121.
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Few debates have maintained as persistent and passionate a level of interest and international scope—whether in the United States, France, or Turkey—as that around secularism. A cursory glance at the titles alone of books and articles on the subject tells us that this is a debate in which serious personal and political stakes are invested. At the very least the debate has been generated by the recognition that a new language of politics is needed to understand the role of religious self-expression in the public sphere. The received wisdom about distinctions between the putatively mutually exclusive domains of public and private, or sacred and secular, simply does not hold water any more. The secularism debate also raises issues of fundamental significance to the very “personality of the state,” as Talal Asad has characterized it. In France, the laicite debate has highlighted how the claim of a minority population to don items of clothing (a right denied by the secular government in Turkey with a majority Muslim population), which it sees as fundamental to its religious self-expression, has challenged the state's own image as a secular republic. In the United States, controversy has been ignited by challenges to the boundary line between private religious practice and the public domain of the state, whether it relates to school prayer or the ongoing battles between evolutionists and anti-evolutionists.
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Rakhman, Akhmad Syaekhu. "Pertumbuhan Musik Metal di Indonesia Akhir 1980-an." HEURISTIK: Jurnal Pendidikan Sejarah 2, no. 1 (February 28, 2022): 18–28. http://dx.doi.org/10.31258/hjps.2.1.18-28.
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Research on the growth of metal music in Indonesia in the late 1980s aims to identify the background for the emergence of metal music in Indonesia and to see the enthusiasm of young people for metal music and bring metal music to the Indonesian culture. On the other hand, the method used in this research is a historical research method with 4 stages, namely heuristics, source criticism, interpretation, and historiography. The result of this research is the history of the emergence of metal music in Indonesia, the enthusiasm of young people towards metal music began to emerge in the 1980s. The bond between metal music and Indonesian culture is very opposite to the cultural background of Indonesians who have friendly and polite behavior, are wise, far from aggressive.
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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.
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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields of eroticism and of bodily movement, with several terms indicating both figures of lovemaking and figures of dance. By performing comically revisited erotic dances or by verbally alluding to them, prostitutes would powerfully embody the conservative criticism of Old Comedy against the new trends in dance promoted by the New Music.
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Mallinson, William. "Cyprus, Britain, the USA, Turkey and Greece in 1977: Critical Submission or Submissive Criticism?" Journal of Contemporary History 44, no. 4 (October 2009): 737–52. http://dx.doi.org/10.1177/0022009409340644.
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Mirelman, Sam. "New Developments in the Social History of Music and Musicians in Ancient IRAQ, SYRIA, and Turkey." Yearbook for Traditional Music 41 (2009): 12–22. http://dx.doi.org/10.1017/s0740155800004112.
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The ancient cultures of Iraq, Syria, and Turkey are distinguished by the existence of extensive documentation in cuneiform script, amongst which are texts concerning music and musicians. Along with a common script, a common corpus of terms (with local variants) for instruments, musicians, theory, and performance, were transmitted in various languages and dialects in the third and second millennia BCE. Apart from later sources from ancient Greece, only ancient Egypt can compare in terms of the extent of textual information in the region. In contrast, the musical cultures of ancient Iran are known mostly through iconography and remains of musical instruments (Lawergren 2009). The same is true for Israel/Palestine, where the sources are essentially material, apart from the Old Testament and a handful of other texts (Braun 2002).
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Kwon, Yongsun. "Waltar Benjamin’s Methodology for Art Criticism." Hankuk University of Foreign Studies Literature Studies 89 (February 28, 2023): 103–24. http://dx.doi.org/10.22344/fls.2023.89.103.
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This article is an attempt to read Walter Benjamin's essay Goethe's Affinity through the concept of 'counterpoint' in music. First, I argued that Benjamin appropriated the concept of “affinity” for his own art criticism and he valued the interaction between a writer and a critic as a production of “affinity” while criticizing a biographical approach toward a writer. Secondly, I proposed that Benjamin’s initial efforts for a dialectical structure resulted in the discontent with its “synthesis,” which Goethe had also echoed in his novel. Due to such a discord, Benjamin had to abandon the system for his essay which had been expressed as the table of contents. However, I’d like to suggest such a theoretical trajectory as a process to form “dialectics outside dialectics,” which nurtured Benjamin’s unique “synthesis” of Messianism and philosophy of history. I concluded that Benjamin's Goethe's affinity adopted a 'counterpointal rhythm' to refashion dialectics for his unique art criticism.
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Jähnichen, Gisa. "Book Review of ‘Kirsten Seidlitz. 2020. Musik & Politischer Konflikt aus der Türkei – kurdische, alevitische und linke Musik in Deutschland’ [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music In Germany]. Bielefeld: Transcript." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 97–99. http://dx.doi.org/10.30819/aemr.7-8.
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This short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei – Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript Verlag in Bielefeld. It is written in German and addresses many important questions regarding political conflicts and their impact on music among various different Turkish people living in Germany. Migration and political participation are heatedly debated in recent times and also a part of cultural exchange.
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Powers, Devon. "Bruce Springsteen, Rock Criticism, and the Music Business: Towards a Theory and History of Hype." Popular Music and Society 34, no. 2 (May 2011): 203–19. http://dx.doi.org/10.1080/03007761003726472.
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Zavіalova, Olha, and Mariya Yarko. "Modern algorithms for interpreting the history of music: an epistemological discourse." Culturology Ideas, no. 22 (2'2022) (2022): 8–16. http://dx.doi.org/10.37627/2311-9489-22-2022-2.8-16.
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In the article a historically significant situation is considered, when with the revival in the last third of the twentieth century of B. Asafyev's ideas on music as a sound intonation environment and an art of intoned meaning, as well as because of the expansion of modern humanitarian knowledge due to close interdisciplinary links, the musical criticism underwent a process of active development, synthesizing the subject field of historical and theoretical musicology on the basis of culturology and philosophy. The achievements of this process have been analyzed, which demonstrate a radical renovation of the conceptual and semantic content of the leading categories of musicology, in particular, in relation to the interpretation of historical phenomena in music in view only of their inherent worldview paradigms. Analytical algorithms for detecting epistemologically reliable data on the style of epochs and criteria for compiling their generalized "image" under the guise of an invariant model are specified. The expediency of a monadological (nonlinear) approach to the history of music, which methodologically corresponds to the idea of "philosophy of integrity", is proposed and substantiated.