Thesis Chapters by İsmet Aydın
Within the scope of this study, which focuses on the "Anatolian vocal" techniques that determine ... more Within the scope of this study, which focuses on the "Anatolian vocal" techniques that determine the genre timbre due to vocal performance in Turkish folk music and analyses, determines, and evaluates the interaction process of these techniques with the instruments that exist in the folk music ecosystem, a structural analysis consisting of different parameters was carried out on the performance practices selected from different regional dialects and some personal style examples. As a result of this study, which focuses on the vocal performance that emerges due to "musical behaviors", the whole of ornamentation, articulation, and expressions around the melody structures is defined as an "audial pattern", the textural elements of this concept and the musical reflexes in melody structures are interpreted. The "structural" features of folk music were evaluated within the makam theory, and the melodic elements that were simplified by separating them from the "audial pattern" with the "melodic nuclei" approach were also examined. As a result, it is emphasized that folk music is shaped by certain aural reflexes and cultural backgrounds in its musical ecosystem due to its dynamic structure, and the "vocal performance designs" of some of the prominent mouth and dagger techniques in the tradition are summarised to emphasize the importance of keeping the instrument-vocal performance dialogue, whose interaction areas are pointed out.
“Hafızlık Tradition” constitutes an important part of the teachings of oral cultural transmission... more “Hafızlık Tradition” constitutes an important part of the teachings of oral cultural transmission” and the methods of conservation in Anatolia. It appears as an important form of musical production which represents a very important mission on behalf of Anatolian musical culture when three elements are considered: 1] the refined art of voice represented in vocal performance, 2] the functions of conservation-transmission and keeping in memory, 3] improvisation based performance style which
consistently refers to the dynamic “melody production methods” of the makam teachings.
In this paper, makam analyses of taksim, gazel and türkü performances in the collaborative gramaphone records of Tanburi Cemil Bey and Hafız Osman will be conducted. Through such analysis, “folk
music” based local melody codes or patterns in both masters’ musical memories will be determined.
Such patterns’ influence on two issues will be discussed: 1] the “style” distinction performed in different regions of Anatolia which is known as “hafız ağzı”, 2] the construction of the improvisational
reflections of this “style” characteristic such as gazel, maya, hoyrat.
In this context, the practice of such form structures in various regions and cultures will be discussed
“on the basis of the gramaphone records of Tanburi Cemil Bey and Hafız Osman.” Moreover, how the
local makam traditions have been integrated with the patterns in the memory of the “performer”
and how this integration gave way both to an original melody production mechanism and the forms
produced by a multi-layered makam perception will be explored. Finally, the importance of the performer’s melody production capacity and his/her technical mastery on the transmission of those
forms and patterns will be analyzed.
Keywords: Hafızlık Tradition, Performance Practises, Hafız Osman, Melodic Codes
This work, which covers the folkloric search, authenticity and locality efforts that we
encounter... more This work, which covers the folkloric search, authenticity and locality efforts that we
encounter in the productions at different periods since Jazz Music practices have been
followed in Turkey, will focus on interactions with Traditional Anatolian Music Culture,
hybridization that becomes evident in style and implementation. Projection of traditional
music on city life; anew movements of traditionalism and intersections with jazz music
will be at the center of the work. Analysis of performance, arrangement, composition and
playing technique practices on the selected sample productions will constitute the
technical content of the work.
Books by İsmet Aydın
Peterlang, 2022
Thinking of music only as a sound element means ignoring many aspects of the cultural dimension o... more Thinking of music only as a sound element means ignoring many aspects of the cultural dimension of human life. The evolution of music as a phenomenon in terms of a human communication form reached a tipping point in the 20th and 21st centuries. As a result of new outcomes emerging from its interaction with society, music, which is gradually becoming a form independent of time and space, can present new practices to the history of humanity that we cannot anticipate in the next century. The music phenomenon with all of its humane and artificial aspects which evolved from the hybrid use of analog and digital sound combinations is moving to the future way of musical expressions. Thinking of this phenomenon regarding its commodification through mass and now digital media offers new question marks for researchers and enthusiasts from different backgrounds. In this chapter, the breaking points of the Turkish music ecosystem within changing musical cultures shaped by different technological eras are examined. By following a discourse analysis, arising music trends are examined in relation to changing practices offered by digital technologies.
Peter Lang, 2022
The acoustic world formed with echoic memory from birth to death, indicates a
sophisticated musi... more The acoustic world formed with echoic memory from birth to death, indicates a
sophisticated musical acculturation phenomenon. Rapid change and re- culturation arose
from the musical ecosystem shaped in the social environment since radio and television
were the only media, and today has a lifelong continuation, have another meaning in the
21st century. Turkish musical ecosystem shaped within the culture industry and in relation
with a state- led acculturation model witnessed a wide range of musical styles in specific
social and political context. The musical memory is a result of the sense of belonging and
cultural policies exposed throughout intellectual and cultural pursuit. Many terms like ideology
and religion provide a basis for a human to organize various cultural conglomerations
with this re- culturation model. This chapter analyzes the alteration of listening habits in the
light of changing cultural and aesthetic perceptions based on socio- economic environment
in the last centuries. Besides, this chapter investigates the term “digital music villages,”
which are offered recently, that focuses on the re- culturation, new musical behaviors, and
habits of listening. Based on the current data of several music streaming services that
reference listener behaviors in Turkey, the study endeavors to designate the influence or
ineffectiveness of musical styles on listeners and behavioral attributions of the culture
industry. Additionally, in this chapter, some approaches on potentially emerging musical
trends and current problems of musical phenomena in Turkey within the frame of new life,
listening, and performing styles that alter through the COVID- 19 pandemic and current
digital developments are explored.
Papers by İsmet Aydın
Etnomüzikoloji Dergisi 100. Yıl Özel Sayısı, 2023
Hafızanın sözlü kültür aktarımındaki başat rolünü, söz konusu müzik olduğunda insan sesi ve icra ... more Hafızanın sözlü kültür aktarımındaki başat rolünü, söz konusu müzik olduğunda insan sesi ve icra edilen çalgıların hatırlatmaya yönelik işlevleri üstlenmektedir. Anadolu’nun sesli kültür mirası olan halk türküleri, bölgeden bölgeye değişen unsurlar barındırmakla birlikte icraya yönelik özgün müzikal davranışlar ortaya koymaktadır. Bu müzikal davranışların tespit edilmesine yönelik analitik bir bakış açısı geliştirilmesi, bu müzik geleneğini duysal özellikleri bakımından diğer müzik geleneklerinin üslup ve tavır özelliklerinden ayıran nüvelerin tanımlanması açısından önemli bir perspektif sağlayabilir.
Bu çalışmada, kaba zurna, sine keman, kaval ve bağlama gibi çalgıların icra özellikleri göz önünde bulundurularak, bu çalgıların icra bölgelerindeki vokal icra unsurları ile olan duysal etkileşimine yönelik bir hipotezin, vokal icra unsurlarında öne çıkan müzikal davranışların tanımlanması ve dokusal özelliklerine odaklanılması yoluyla güçlendirilmesi amaçlanmaktadır. Örneklem olarak farklı üslup bölgelerinden seçilen ses kayıtlarının transkripsiyonları üzerinde, makam, “duysal örüntü” ve müzikal davranışların yorumlanması parametrelerini göz önünde bulunduran bir analiz yönteminin uygulanması yoluyla elde edilen verilerin, ilgili icra sahalarındaki çalgıların duysal özelliklerinde mevcut olması veya olmaması durumları gözlemlenerek, herhangi bir etkileşim sürecinin gerçekleşip gerçekleşmediğine dair bir söylem üretilmiştir. İnsan sesi ve çalgısal icranın özellikle sözlü müzik geleneği baskın olan müziklerde birbirini etkilediği, bu etkileşimin ise tek yönlü değil, bazen karşılıklı, bazen bir tarafın daha baskın olması şeklinde ilerlediği görüşü ileri sürülmüştür.
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Thesis Chapters by İsmet Aydın
consistently refers to the dynamic “melody production methods” of the makam teachings.
In this paper, makam analyses of taksim, gazel and türkü performances in the collaborative gramaphone records of Tanburi Cemil Bey and Hafız Osman will be conducted. Through such analysis, “folk
music” based local melody codes or patterns in both masters’ musical memories will be determined.
Such patterns’ influence on two issues will be discussed: 1] the “style” distinction performed in different regions of Anatolia which is known as “hafız ağzı”, 2] the construction of the improvisational
reflections of this “style” characteristic such as gazel, maya, hoyrat.
In this context, the practice of such form structures in various regions and cultures will be discussed
“on the basis of the gramaphone records of Tanburi Cemil Bey and Hafız Osman.” Moreover, how the
local makam traditions have been integrated with the patterns in the memory of the “performer”
and how this integration gave way both to an original melody production mechanism and the forms
produced by a multi-layered makam perception will be explored. Finally, the importance of the performer’s melody production capacity and his/her technical mastery on the transmission of those
forms and patterns will be analyzed.
Keywords: Hafızlık Tradition, Performance Practises, Hafız Osman, Melodic Codes
encounter in the productions at different periods since Jazz Music practices have been
followed in Turkey, will focus on interactions with Traditional Anatolian Music Culture,
hybridization that becomes evident in style and implementation. Projection of traditional
music on city life; anew movements of traditionalism and intersections with jazz music
will be at the center of the work. Analysis of performance, arrangement, composition and
playing technique practices on the selected sample productions will constitute the
technical content of the work.
Books by İsmet Aydın
sophisticated musical acculturation phenomenon. Rapid change and re- culturation arose
from the musical ecosystem shaped in the social environment since radio and television
were the only media, and today has a lifelong continuation, have another meaning in the
21st century. Turkish musical ecosystem shaped within the culture industry and in relation
with a state- led acculturation model witnessed a wide range of musical styles in specific
social and political context. The musical memory is a result of the sense of belonging and
cultural policies exposed throughout intellectual and cultural pursuit. Many terms like ideology
and religion provide a basis for a human to organize various cultural conglomerations
with this re- culturation model. This chapter analyzes the alteration of listening habits in the
light of changing cultural and aesthetic perceptions based on socio- economic environment
in the last centuries. Besides, this chapter investigates the term “digital music villages,”
which are offered recently, that focuses on the re- culturation, new musical behaviors, and
habits of listening. Based on the current data of several music streaming services that
reference listener behaviors in Turkey, the study endeavors to designate the influence or
ineffectiveness of musical styles on listeners and behavioral attributions of the culture
industry. Additionally, in this chapter, some approaches on potentially emerging musical
trends and current problems of musical phenomena in Turkey within the frame of new life,
listening, and performing styles that alter through the COVID- 19 pandemic and current
digital developments are explored.
Papers by İsmet Aydın
Bu çalışmada, kaba zurna, sine keman, kaval ve bağlama gibi çalgıların icra özellikleri göz önünde bulundurularak, bu çalgıların icra bölgelerindeki vokal icra unsurları ile olan duysal etkileşimine yönelik bir hipotezin, vokal icra unsurlarında öne çıkan müzikal davranışların tanımlanması ve dokusal özelliklerine odaklanılması yoluyla güçlendirilmesi amaçlanmaktadır. Örneklem olarak farklı üslup bölgelerinden seçilen ses kayıtlarının transkripsiyonları üzerinde, makam, “duysal örüntü” ve müzikal davranışların yorumlanması parametrelerini göz önünde bulunduran bir analiz yönteminin uygulanması yoluyla elde edilen verilerin, ilgili icra sahalarındaki çalgıların duysal özelliklerinde mevcut olması veya olmaması durumları gözlemlenerek, herhangi bir etkileşim sürecinin gerçekleşip gerçekleşmediğine dair bir söylem üretilmiştir. İnsan sesi ve çalgısal icranın özellikle sözlü müzik geleneği baskın olan müziklerde birbirini etkilediği, bu etkileşimin ise tek yönlü değil, bazen karşılıklı, bazen bir tarafın daha baskın olması şeklinde ilerlediği görüşü ileri sürülmüştür.
consistently refers to the dynamic “melody production methods” of the makam teachings.
In this paper, makam analyses of taksim, gazel and türkü performances in the collaborative gramaphone records of Tanburi Cemil Bey and Hafız Osman will be conducted. Through such analysis, “folk
music” based local melody codes or patterns in both masters’ musical memories will be determined.
Such patterns’ influence on two issues will be discussed: 1] the “style” distinction performed in different regions of Anatolia which is known as “hafız ağzı”, 2] the construction of the improvisational
reflections of this “style” characteristic such as gazel, maya, hoyrat.
In this context, the practice of such form structures in various regions and cultures will be discussed
“on the basis of the gramaphone records of Tanburi Cemil Bey and Hafız Osman.” Moreover, how the
local makam traditions have been integrated with the patterns in the memory of the “performer”
and how this integration gave way both to an original melody production mechanism and the forms
produced by a multi-layered makam perception will be explored. Finally, the importance of the performer’s melody production capacity and his/her technical mastery on the transmission of those
forms and patterns will be analyzed.
Keywords: Hafızlık Tradition, Performance Practises, Hafız Osman, Melodic Codes
encounter in the productions at different periods since Jazz Music practices have been
followed in Turkey, will focus on interactions with Traditional Anatolian Music Culture,
hybridization that becomes evident in style and implementation. Projection of traditional
music on city life; anew movements of traditionalism and intersections with jazz music
will be at the center of the work. Analysis of performance, arrangement, composition and
playing technique practices on the selected sample productions will constitute the
technical content of the work.
sophisticated musical acculturation phenomenon. Rapid change and re- culturation arose
from the musical ecosystem shaped in the social environment since radio and television
were the only media, and today has a lifelong continuation, have another meaning in the
21st century. Turkish musical ecosystem shaped within the culture industry and in relation
with a state- led acculturation model witnessed a wide range of musical styles in specific
social and political context. The musical memory is a result of the sense of belonging and
cultural policies exposed throughout intellectual and cultural pursuit. Many terms like ideology
and religion provide a basis for a human to organize various cultural conglomerations
with this re- culturation model. This chapter analyzes the alteration of listening habits in the
light of changing cultural and aesthetic perceptions based on socio- economic environment
in the last centuries. Besides, this chapter investigates the term “digital music villages,”
which are offered recently, that focuses on the re- culturation, new musical behaviors, and
habits of listening. Based on the current data of several music streaming services that
reference listener behaviors in Turkey, the study endeavors to designate the influence or
ineffectiveness of musical styles on listeners and behavioral attributions of the culture
industry. Additionally, in this chapter, some approaches on potentially emerging musical
trends and current problems of musical phenomena in Turkey within the frame of new life,
listening, and performing styles that alter through the COVID- 19 pandemic and current
digital developments are explored.
Bu çalışmada, kaba zurna, sine keman, kaval ve bağlama gibi çalgıların icra özellikleri göz önünde bulundurularak, bu çalgıların icra bölgelerindeki vokal icra unsurları ile olan duysal etkileşimine yönelik bir hipotezin, vokal icra unsurlarında öne çıkan müzikal davranışların tanımlanması ve dokusal özelliklerine odaklanılması yoluyla güçlendirilmesi amaçlanmaktadır. Örneklem olarak farklı üslup bölgelerinden seçilen ses kayıtlarının transkripsiyonları üzerinde, makam, “duysal örüntü” ve müzikal davranışların yorumlanması parametrelerini göz önünde bulunduran bir analiz yönteminin uygulanması yoluyla elde edilen verilerin, ilgili icra sahalarındaki çalgıların duysal özelliklerinde mevcut olması veya olmaması durumları gözlemlenerek, herhangi bir etkileşim sürecinin gerçekleşip gerçekleşmediğine dair bir söylem üretilmiştir. İnsan sesi ve çalgısal icranın özellikle sözlü müzik geleneği baskın olan müziklerde birbirini etkilediği, bu etkileşimin ise tek yönlü değil, bazen karşılıklı, bazen bir tarafın daha baskın olması şeklinde ilerlediği görüşü ileri sürülmüştür.