Although its roots are seen in ancient times and despite the fact that it role in the historical developments of Turkish and world music, the darbuka and its performance have not been extensively taken under musicological studies. This article is about the performance analysis of the darbuka techniques developed by studied under the light of the fact that the existing musical discourse has been transferred from teacher to student through ages orally. Parallel to the cultural changes, the advancement of civilizations throughout the course of history, differences. Therefore the material of the clay darbuka has been the most important factor affecting the different techniques of playing the instrument. The reason why we emphasize on the performance analysis is that it is of fundamental importance to make observations and decipher its characteristics within the discipline of musical theory.
Anton Webern's (1883Webern's ( -1945 largest project of the early the 1930s, the Concerto for Nine (solo) Instrument's Op. 24, is for flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano. This serial work's analysis became almost as famous as the concerto itself. Highly economical, short, concentrated and free relationship between the intervals take over from tonality as the main organizational principle "pontillistic" style. The clear and transparent frame "Klangfarbenmelodie", is a row, that was distributed among different instruments. So that, several notes can be heard in the same timbre. Like most of Webern works, there are quiet special effects like a whisper, string harmonics, pizzicato, muting, and athematic intevalic cells as the basic structural element. Concerto for Nine Instruments has succeeding series of twelve-tone works. Webern worked for a long time on the Concerto's raw, trying to arrive at an equivalent to the Latin word-square palindrome which reads the same left to right from the top, right to left from the bottom, downwards from the top left, or upwards from the bottom right.
and German, and he also joined lots of seminars, radio, and television programs. His inspirational sources are traditional Turkish music, modern French music, American cultural traditions, as well as jazz, acoustic, and electronic music. His music, in summary, is about taking a little from tonality, twelve-note system, coincidences, improvisations, etc., and joining them with his own experiences like emotions, knowledge, and intelligence. Sakpınar always defends that the composer of the day has to benefit from lots of various sources. He is doing this as well as trying new forms in every new piece. It does not matter if these are tonal, atonal, serial, or modal but it must be personal. All the borders and capacities of the instruments have to be forced.
In this work, women jazz musicians in Turkey have been examined within the gender studies context. The purpose of this research, of which its theoretical frame was formed with a socio-musicological approach, via female musicians who are active in jazz music in Turkey, is to research and form a descriptive analysis by asking questions, such as: how gender roles affect women's careers, what steps female musicians have to go through in a sector dominated by men in order to be seen and which roles are attributed to women in jazz. Due to the fact that women jazz musicians who play instruments are a minority, the scope of the subject has been limited to 'women jazz instrumentalists in Turkey', and in-depth interviews were conducted with selected sources within this context. The boundaries of the research topic were determined by the conducted interviews, and utilizing the feminist theory, qualitative research methods were used. With this research, an effort was made at forming a systematic reference about female jazz musicians, which was previously not found in a thorough academic research before in Turkey. The people selected for the examination of their status in the field of jazz were seen as a starting point for the research of the subject, and following the transcription of their interviews, an attempt was made to determine the causes and conclusions of gender inequalities within jazz music in Turkey. Using the implications and the results gathered during the research, there was an intention to place an emphasis on the recognition of women jazz instrumentalists beyond what's known. In conclusion, in this paper, in order to provide support to studies of musicology with a feminist approach, up to date observations were made with the examination of women jazz instrumentalists in Turkey within the gender context.
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