Ethnomusicology

Auto-ethnographies tracing the fieldwork encounters of anthropologists have become integral to understand the processes of the ethnographic endeavor. In ethnomusicology, ethnographic methodology remains the sine qua non distinguishing our work from that of the musicologist. The field is ubiquitous in our work as the space within which we accumulate the experiences informing our analyses. Equally ubiquitous is the assumption that the field exists outside of our ‘real lives’ (Rasmussen 2004). Yet, with transcultural professional lives becoming increasingly common, and more scholars establishing professional roots in locations formerly allocated as ‘the field,’ there exists an obvious need for a reconsideration of and new fluidity in ethnographic research. If “fieldwork is, in reality, just living” (Reed 2003), then this way of life deserves a consideration in all its complexities, diving into the interstices of personal, professional, and artistic identities.

In this paper, I explore the overlapping and ephemeral spaces of the ethnographic self in the Korean context. Drawing on my own experiences as a non-Korean researcher of Korean music and professor in a department of Korean music, the paper inescapably takes the form of auto-ethnography. The paper uncovers the ways by which performance-based practice of bi-musicality complicates the identity of the researcher, as the ability to perform on an instrument tied to local notations of race-based nationalism transforms the scholar into a curiosity. Through an analysis of my own bimusical practice, I scrutinize the benefits and pitfalls of the constant presence of the foreign researcher in the Korean academic and social milieu.

Colonialism is a particular mode of domination exercised by a state or comparable entity over foreign lands and peoples. There is a good deal of overlap between the keyword colonialism and the more general concept of imperialism. The former has come to refer specifically to the European domination of vast expanses of the world during the modern period as well as to techniques of imperial control developed during this period and applied by powers such as Japan and the United States. Colonialism and decolonization have had a profound impact on all domains of cultural production, including music. After defining colonialism, this entry introduces some of the processes and musical effects of Western colonial expansion from the 15th century to the present.

The Early Music movement has generated a shift in performance practices of Western Art music and in its pedagogy. Musical analysis, if it became a key in the production of Historically Informed Performances, was always accompanied by a serious contextualization. In this article I will show how practices in Early Music can be seen as essentially postmodern (Jameson, Butt), recalling principles of deconstruction (Norris) for both its epistemology and its pedagogy. Early Musicians build on their knowledge of pre-modern music theories to promote non-canonized forms through an "insistent questioning of [their] own methods and practices" (Tomlinson). This postmodern attitude in knowledge transmission reveals a deep shift in social practices related to fields as diverse as politics and labour organization, and the recent debates between professional musicians are the mirror of difficulties to define one's positioning, especially when founded over such an ungraspable and moveable background. Oscillating between modern ideologies inherited from the Enlightenment and pre-modern concepts of art consumption, between literacy and orality (Goody), this practice, defined by acts of deconstruction, struggles to construct its identity. I consider these attempts as reflecting the peregrinations of a twenty-first-century epistemology in search of itself. In this essay, I partly based my work on ethnographic researches in Southern Europe, alongside scholarship readings and textual analyses.

Posthumanism, now in the mainstream of the humanities and humanistic social sciences, poses a challenge to ethnomusicology, a discipline inherently focused on the human and social aspects of music. Drawing from a survey of birds in the ethnomusicological scholarship and the author's research on music and birds in Brazil, this article proposes an approach to ethnomusicology that emphasizes nonhuman factors and their own properties and effects as a method for better understanding music as a meaningful human phenomenon.

What is ethnomusicology? What is it that ethnomusicologists do? In which ways are ethnomusicologists initiated into the musical culture that they study? How do musical performance and experience help us understand a musical culture? 

This book presents in a concise and intelligible manner issues that matter to both specialists (ethnomusicologists, anthropologists, musicologists and musicians) and the wider music-loving readership. At the same time, the book offers an overview of the history of ethnomusicology and its key theoretical and methodological concerns, and reveals ethnomusicology as a dynamic field of study which is distinguished by its highly interdisciplinary character.

The book is designed for the teaching of ethnomusicology in higher education, and contains a selection of ethnomusicological texts translated in Greek as well as an extensive editorsʼ introduction.

Musical Culture and Art of the Arctic Peoples is  collection of scientific papers by Yu. Sheikin, O. Dobzhanskaya, Z. Ivanova-Unarova, S. Ode, T. Ignatieva, V. Dyakonova, L. Kardashevskaya. It consists 21 articles which are devoted to describing of musical instruments, different genres of musical folklore, ritual musical traditions and different aspects of musical culture of Arctic peoples (Evenks, Nganasans, Sakha, Yukaghirs and other Siberian peoples).
Papers are in English, French, German.
This is textbook for students of Arctic State Institute of Culture and Arts (Yakutsk).

The yoik is a vocal technique practised by the Sámi of Northern Europe. It relies on circular melodies, chanted in everyday life and a cappella, with or without lyrics. Each melody evokes a particular being, usually a person, an animal species, or a place. ‘Yoiking them’ is a way of making them present, exploring an attachment, and unfolding memories. The yoik is considered by many of its practitioners as a gift received from the environment, a mysterious craft that they come to know through personal experience and experimentation.

This thesis is based on conversations with yoikers, active in either the ‘traditional’ or ‘modern’ practices, and an apprenticeship in the craft of yoiking. It constitutes a series of essays, or ‘philosophical variations’, aimed at taking the yoik seriously and unfolding some of its philosophical affordances. As in the musical variations on popular melodies by classical composers, writing the yoik in variation means hosting it within another practice bearing its own constraints and possibilities. Practices of yoiking and writing are thus put in a dialogue at times converging, at times diverging, but always intended to be mutually stimulating. Various voices from social anthropology, ethnomusicology, psychology, theology, ethology, and the history of philosophy join the dialogue along the way.

The variations are ‘philosophical’ in that each of them creates one concept: horizon, enchantment, creature, depth, echo, primordial. Each concept seeks to capture a layer of depth perceived in the yoik’s practice: (1) the risks of metamorphosis; (2) the chants of animals and the wind; (3) the creation of yoiks as outgrowths of the sensuous world; (4) the inner landscapes of humans; (5) the resurgence of past memories and of the dead; (6) the roots of human chants in a chthonic, original past; and (n) the power of repetition and interruption.

The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds: rock, pop, power pop, hip hop, trip hop, post punk, spaghetti western, shoegaze, or experimental electronic. The end result is a musical production which simultaneously attempts to voice their nationality as well as their generation. They are the torchbearers of tradition for an Iberian generation raised on The Velvet Underground, David Bowie, The Clash, The Replacements, Nirvana, and The Strokes. Their music references these and other global indie bands alongside those of twentieth century Iberian urban folk icons--Bambino, Camarón de la Isla, Enrique Morente, Amália Rodrigues, Alfredo Marceneiro, and Carlos do Carmo. I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national-gender identity, and the economic crisis plaguing contemporary Europe.

Our music contains almost all the aspects of our national culture. The need for the studies of common terminology in order to interpret our music through more extensive and meaningful expressions is recognized through the problems. If common musical terminology is designated, the musical misconception between Anatolian Turkish music and other Turkic music might be partially resolved in order to settle these problems. We assume that like in other fields, introducing words supporting common musical terminology among Turkic people will not only solve the problems but also constitute a useful source for learning regional differences in music.
This article discusses common musicological problems between the term “ashula” and “mani” basing on the relationship, similarity and current functioning of the two terms. These two genres, based on the verse types “aruz” and “parmak” and sung with particular melody types (makam),  have enriched their sources while completing their development with the time. These developments led to association of these genres with similar kinds or their differentiation. Whereas had the commonality of expressions been maintained since past, the time would not have been lost for these disputes and more novelties would have been observed instead. These problems are observed not only between the terms “ashule” and “mani”. The same is true for many terms used today. In conclusion, we will examine the term “ashula” equivalent of the Anatolian term “mani”, in terms of its prevalence within the territory of Uzbekistan and its terminological problems in comparison with the term “mani” while seeking new ways to solve this common problem.

What is applied ethnomusicology and why did they say such bad things about it for so long? And why have they stopped? This essay is a description and history of applied ethnomusicology, with particular attention to its development in the United States, from the late 19th century to the present, by Jeff Todd Titon. The essay is Section 1 of the Introduction to the Oxford Handbook of Applied Ethnomusicology, a volume edited by Jeff Todd Titon and Svanibor Pettan (Oxford University Press, 2015). Reprinted from Toward a Sound Ecology: New and Selected Essays (Indiana University Press, 2020).

Audiovisual documentation has been an important part of ethnomusicological endeavors, but until recently it was treated primarily as a tool of preservation and/or documentation that supplements written ethnography, albeit there are a few notable exceptions.The proliferation of inexpensive video equipment has encouraged the unprecedented number of scholars and students in ethnomusicology to be involved in filmmaking, but its potential as a methodology has not been fully explored.

As a small step to redefine the application of audiovisual media, Dr. Usopay Cadar, my teacher in Philippine music, and I produced two films: one on Maranao kolintang music and the other on Maranao culture in general, based on the audiovisual footage we collected in 2008. This short essay describes how the screenings of these films were organized in March 2013 for the diverse audiences in the Philippines, and what types of reactions and interactions transpired during the screenings.These screenings were organized both to obtain feedback about the content of the films from the caretakers and stakeholders of the documented tradition and to create a venue for interactions and collaborations to discuss the potential of audiovisual ethnography.

Drawing from the analysis of the current project, I propose to regard film not as a fixed product but as a living and organic site that is open to commentaries and critiques, where changes can be made throughout the process. In this perspective, ‘filmmaking’ refers to the entire process of research, filming, editing and post-production activities.

This article explores the question of improvisation in the context of South Indian (Tamil) temple nāgasvaram music, with a focus on the genre ālāpana. It shows that improvisation and creativity rarely come into conflict with the conventions of genre, culture, and society and demonstrates-through a dialogic process between the musical analysis of the performance and the insights of the musicians on their own practice-that the emotional effectiveness of a musical phrase depends not only on its idiosyncratic qualities but also on the process that prepares it and the context in which it is enunciated. It challenges most ethnomusicological approaches, in which musical improvisation is thought in terms of models and not as much in terms of creativity and/ or agency in the heat of the performance, and calls for a better articulation of explanatory models with emic perceptions and lived experiences. © 2 0 1 7 U n i v e r s i t y o f T e x a s P r e s s © 2 0 1 7 U n i v e r s i t y o f T e x a s P r e s s 26 Asian Music: Summer/Fall 2017

Towards the end of the first decade of the new millennium ‘Bollywood’ can be seen as having gained unprecedented cultural legitimacy in India and worldwide. This is even apparent on the level of official representations of India, with stars dancing to film songs at the closing ceremony of the 2006 Commonwealth Games in Australia. With the new extension of legitimate culture beyond the boundaries of classical or folk into the realm of the popular, there is a sense that the culture of ‘the people’, ‘the masses’, is embraced, validated, approved. However, that 75,000 ‘bar girls’ who danced to Bollywood numbers in beer bars in Mumbai were made redundant in August 2005 following a virulent moral campaign indicates that areas of Bollywood culture exist that are by no means legitimised. Beginning with an examination of the Bollywood dance craze that has become one of the trendiest parts of globalised India and then moving onto ‘other’ arenas of Bollywood dance starting with the bar girls, this chapter seeks to problematise the question of ‘the people’ in Indian popular culture through an examination of hierarchies and processes of inclusion and exclusion at work within the popular sphere.

As an incredibly diverse religious system, Buddhism is constantly changing. The Oxford Handbook of Contemporary Buddhism offers a comprehensive collection of work by leading scholars in the field that tracks these changes up to the present day. Taken together, the book provides a blueprint to understanding Buddhism's past and uses it to explore the ways in which Buddhism has transformed in the twentieth and twenty-first centuries.

The volume contains 41 essays, divided into two sections. The essays in the first section examine the historical development of Buddhist traditions throughout the world. These chapters cover familiar settings like India, Japan, and Tibet as well as the less well-known countries of Vietnam, Bhutan, and the regions of Latin America, Africa, and Oceania. Focusing on changes within countries and transnationally, this section also contains chapters that focus explicitly on globalization, such as Buddhist international organizations and diasporic communities. The second section tracks the relationship between Buddhist traditions and particular themes. These chapters review Buddhist interactions with contemporary topics such as violence and peacebuilding, and ecology, as well as Buddhist influences in areas such as medicine and science.

Offering coverage that is both expansive and detailed, The Oxford Handbook of Contemporary Buddhism delves into some of the most debated and contested areas within Buddhist Studies today.

Tüm hakları mahfuzdur. Bu kitabın tamamı ya da bir kısmı yayıncının izni olmaksızın elektronik, mekanik, fotokopi ya da herhangi bir kayıt sistemi ile çoğaltılamaz, yayınlanamaz, depolanamaz. Fotoğraf 1 Saronno Kilisesi'ndeki fresklerden bir kesit. 9 Fotoğraf 2 Vercelli Kilisesi'ndeki fresklerden bir kesit. 10

This article uses Spain's participation at the Cairo Congress of Arab Music (1932) as the basis to raise questions pertaining to the place of Arab music in the racial imagination of Europeans. It argues that Spain's unique response to the challenges arising from the study of Arab music in a context of colonial rivalry reveals still uncharted tensions and fractures running through musicology and Orientalist discourse at the time. My line of inquiry sheds light on the origins and characteristics of the forms of self-reflexivity evident in the musicological work produced by Spain and other European countries. In what ways did the shifting tectonics of North African politics impact or even impair the capacity of European musicological discourse to inscribe Arab music in the global imagination in ways supportive of Europe's identity projects? To what extent was the discourse on Arab music emerging in the context of colonial rivalry suitable for Spain to rewrite the memories of its past of anti-Muslim violence? What could Spain's unique position as both an insider and an outsider relative to notions of Europe reveal about western attitudes towards Arab music in a context of colonial rivalry? The answers to these questions lie not only with the peculiar ways in which Spain addressed its identity crises, but also with the extent to which the Cairo Congress exposed the inadequacy of reigning paradigms in musicology, anthropology and the social sciences, and underscored their inability to keep up with the changing face of North African societies.

Bu çalışma ile hedeflenen; yöredeki çok seslilik unsurlarını tespit ve analiz etmektir. Özellikle bu çalışmadan elde edilen sonuçların modernite kavramının ülkemizi etkilediği zamanlardan bu yana tartışıla gelen çok seslilik tartışmalarına katkıda bulunması,  konu ile ilgili çalışma yapacak icracı ve araştırmacılara güvenli bir kaynak
oluşturulması çalışmanın temel amaçlarından birisidir. Çalışmanın sonucu olarak Yörük Türkmen müziğinin çok sesli olduğu tespiti yapılmıştır. Tespit edilen çok seslilik unsurları tasnif edilmiştir.

SUMMARY: SOCIOLOGY OF THE BODY OF ROCK

1 Introduction

This work on the body of rock and sound interactions is the result of the academic and musical research. On one hand is an acoustic archeology of the rise of British rock (60'). On the other it‘s an investigation of the academic possibilities of sociology. In both cases the fundamental the role is played by the ear, that thing that lies behind the ears, a sense as obvious as sight that has been so mistreated by the sound excess of our time and our History. The ear/hearing is the axis of this thesis. It is its perspective.
Based on the sociological theory of habitus as body, history and technique (basically, Pierre Bourdieu, Norbert Elias and Marcel Mauss ), and trying to develop a phenomenology of sound perception (sociological ear/hearing) from the work of some ethnomusicologists (Steven Feld, Charles Keil and Thomas Turino) and using the very sociology of rock (Simon Frith, Motti Regev) or the acoustic ecology (Murray Schafer), I have started analyzing the emergence of rock as the establishment of a new social ear/hearing or sound field that is manifested in its works, in the way of making them or carrying them out and the relationship they have with the situation in which they arise. Through historical cases and analysis, I test, first, some assumptions concerning precisely this capacity of objectification of rock as a cultural event, while on the other hand I try to develop an analysis of the possible relationship between body and the new technologies of music production.

2 Objectives

The main goal of all this work has been to apply a new perspective in sociology (at least in the Spanish sociology). A perspective that we can say it enables to operationalize the weberian maxim of understanding social facts from our own feeling nature, emphasizing, because of the sonic nature of rock, the world of sound and experience. To access this social ear/hearing, I tried to develop an approach that focuses its attention on the sociology ear/hearing, and I have called it sonic sociology or sounding interactions sociology. To achieve this, I started from the bourdian sociology and interest in the study of habitus as analysis of the institution of the social in the bodies and in the fields. First, searching for the impact it has had on the sociological theory of rock and developing a field theory of cultural production linked to the rock industry. And then, introducing the ethnomusicological perspective that has allowed me to think and locate sound phenomena in their cultural and technological context.
As for the complementary goals of this work, they point to the social life of sounds and the way they are lived and their capacity to objectify themselves and their social surroundings, even if that means \to allow the incorporation of elements that, for lack of a better term, we might call non-humans. (Latour, 2008: 107). These goals or intentions are operationalized in a number of assumptions: a technological hypothesis about the relationship between music, body and technology, which postulates that the body, returning to Simon Frith (1996) and his so called stages of musical storage (Folk, and Pop Art), disappears from music as its support with the spread of the pentagram representation, but returns with the emergence of new audiovisual technologies that, while not bringing back the body as a physical body, it returns the body as a place in which the music occurs.
Furthermore, I have presented a number of hypotheses about the objectification of the field of rock. First, as Pierre Bourdieu notes regarding Flaubert 's writing (2002a), the works -and this includes the whole output of rock- can objectify the social space at which are born: not that they reflect the social space, but that they generate and give meaning to it. Secondly, that the hexis of rock .as a bodily matrix of the way of doing things in rock- can play a similar objectification in relation to the social space at which is brewing. Combining these hypotheses about the objectification of rock with the technological hypothesis, we come to the third assumption: the generating formula behind the production of rock in general and the record production in particular is based both on a socio-cognitive generative matrix and the technological evolution that precedes and constitutes it.

3 Results

The first result of the use and combination of these theoretical and analytical perspectives applied to our case is a sociological and conceptual scheme of the rock body during the years of the beat boom (in section 5). Taking the sound interactions as our independent or fixed variable, we were able to draw some general lines of progression of the beat boom situation, with the Beatles on top of it. As seen in sections 5.2, 5.3 and 5.4, the body that bajtinianly emerges from the toilet and rises to a royal position and then retires, matches different fields of musical activity. In turn, these musical fields (using Thomas Turinoes ethnomusiclogical frame) are objectified after the status obtained by these beat boom musicians. Being no more than mere backing musicians in a field of participative and presentational activity in the first half of decade (60e), then they gain recognition as artists through the development of the studio audio art that allows the recording studio in the second half of the decade. This sound production, with its reception and consumption, helps to transform the nature of the rock body and its miraculous qualities acquired during the beat boom (in section 5.3). The table in section 5.1 summarizes these results.
A second result of the combination of these perspectives applied to our case is the matrix of the generative formula of rock (in 6.5). Analyzing the recording adventure of our cases (the Beatles, the Who and the Kinks, but applicable to the vast majority of acts that, in the wake of the Beatles, pounced on to the compositional work, sooner or later, like the Rolling Stones, Van Morrison, Small Faces, Cream, etc.), we discovered and were able to establish the main lines that constitute the habitus of the rock album of the sixties, focusing on two ideal states, the very stage of the beat boom and the step that benefits from its consequences. The table at the point 6.5 summarizes the results.
A third result was the confirmation that, in effect, both the body and technology are fundamental to rock, to rock music as cultural production and as a form of leisure and consumption (in Part III). Thus, through the analysis of sound interactions occurring within rock .albums and singles, concerts, films and tv footage, different fields of musical activity-, we could delve into the return of the body .moved away by the civilizing process. Finally, when we look at the history of rock, how it developed from the mechanization of electronic music on the one hand, and the so called body release on the other, we note that the body of rock it is there .but confronting the technological hypothesis, it is not: it seems to be there, but is not. When the music is live (folk) we have the body present; in the score (within Simon Frithes stages in the relationship of music with technology, the one he calls art) we have a non-body or a split or idealized body, a supposed one; with the recorded sound we have a \body., a body recovered from certain traces that are technologically captured.

4 Conclusions

In the end, the search for sound traces allowed us to analyze specific cases in the shaping of the social ear/hearing that is generated in rock. For example, it allowed us to see how, in the staging of those bands associated with the music industry, after presenting and studying the creation of a formula for the record production under the paradigm of rock, sound homologies do exist between the records as sound conceptualizations of ideals and their live performances as an attempt to achieve this ideal in a ritual or community time; and also homologies that could be called consonants, homologies between the records and the field of cultural production that is organized and propitiated around them. That is, it allowed us to get closer to the ear, as a stylized or socialized way of hearing, as a fundamental element of social and bodily coordination, as part of the constitution of a field of cultural production. Secondly, this sound archeology allowed us to study and analyze some specific cases: for example, the construction of the voice of rock, at which interact the body and its parts (lungs, larynx, intensities, etc.), physical techniques applied to sound and musical body (shouting, crooning, transposition of the vocal habitus of rhythm and blues, girl groups, call and response, etc.) and technologies (tapes, double tracking, ADT, etc.) in cultural and musical production of rock.
Finally, we can say that popular music in postindustrial age has brought the body back into the spotlight. However, it is not a full come back or at least is not a return to a preindustrial or an ethnological body: it is an altered body, made from the great innovations in communication and audiovisual media, and ites combined with psychotropic experimentation and the new mass phenomena. Although all this technological progress will bring back a body that, under rationalism, had vanished, it will be, as demonstrated, not a complete return but a representation of the body, a remembrance, or perhaps a celebration of its own demise.

The field of electroacoustic presents a number of potential challenges to assumptions about what Western art music is: as John Cage noted as early as 1937, it opens up the entire field of sound as musical sources. Barry Truax states that "the serious use of environmental sound in music is potentially disruptive and even subversive to the established norms of the artistic field" (1995: 1). Electroacoustic music can shift attention from pitch relationships to timbral possibilities of sounds. As a result, much electroacoustic music confounds traditional forms of musical analysis (Tenney 1986: 4). Soundscape composition, with its focus on environmental sound, could be considered a type of electroacoustic music that is particularly resistant to traditional analysis and categorization. I will limit my discussion here to the place of the serious use of environmental sound (which I will refer to as soundscape composition) within the field of electroacoustic music, since this will give me a manageable field to consider. Electroacoustic music is a specific genre of Western Art music which has developed only in the last hundred years or so, requiring extensive financial expenditure for equipment and therefore practised — at least until recently — mostly by people in industrialized nations, in large publicly or commercially funded studios. My discussion of the place of soundscape composition within the field of electroacoustic music will raise issues that also apply to the larger field of Western art music, while retaining a focus on the norms of electroacoustic music. The discussion will be in three parts: (1) what is meant by the phrase "the serious use of environmental sound," (2) what are the established norms of electroacoustic music, and (3) To what extent does soundscape composition in itself disrupt or subvert these norms? 1. The serious use of environmental sound The concept of an environment of sound is the basis of the word "soundscape," a term credited to composer R. Murray Schafer. He defines it as: The sonic environment. Technically, any portion of the sonic environment regarded as a field for study. The term may refer to actual environments, or to abstract constructions such as musical compositions and tape montages, particularly when considered as an environment. (1977: 275) By sonic environment, Schafer is referring to "the ever-present array of noises, pleasant and unpleasant, loud and soft, heard or ignored, that we all live with" (1977: jacket notes). This acceptance of all sounds is similar to that of John Cage, who said that the use of electrical instruments "will make available for musical purposes any and all sounds that can be heard" (1961: 4). Recording equipment makes any sound in the world available: it can be isolated from its context and treated as a sound object, or the interplay of sounds within a specific environmental context can be the focus of attention. Schafer's statement in his definition that abstract constructions such as musical compositions are soundscapes particularly when considered as an environment refers to the importance of context in soundscape composition. Barry Truax clarifies what the importance of context means: In the soundscape composition ... it is precisely the environmental context that is preserved, enhanced and exploited by the composer. The listener's past experience, associations, and patterns of soundscape perception are called upon by the composer and thereby integrated within the compositional strategy. Part of the composer's intent may also be to enhance the listener's awareness of environmental sound. (1984: 207) Truax concentrates on the importance to the composer of the experiences, awareness and perceptions of listeners, and their relationships to the sound environment. These become an integral part of the compositional strategy. Hildegard Westerkamp also defines soundscape composition as a form that insists on contact between the composer, listener and sound environment: "The word soundscape always implies interaction between environment and individual, and between environment and community" (1988: 3). Thus the serious use of environmental sound, according to these composers, is to work with the environment of the sounds, their context and interrelationships with listeners and with the composer.

This book is an introductory handbook to the historical and ethnomusicological study of the musical traditions of the Islamic world. The aim of the book is to introduce its readers to the role and status of music in societies where Islam has historically been the predominant religion. The book is structured around three basic themes: Sources, Perspectives, Practices. Among the topics that are being explored is the relation between music, religion and ritual, the ways music is transmitted, musical orality and literacy, philosophical approaches to music and its conception as science and as art, its performative nature etc. Music is approached in relation to other forms of art (literature, iconography, architecture etc.) and to the various fields in which creativity is expressed in the Islamic world. Overall, the book aims to to contribute to a deeper and broader understanding of Islamic culture.

ένας από τους διακεκριµένους παίχτες του tanbur 2 της νέας γενιάς µουσικών της Τουρκίας, αναφερόµενος στη γενεαλογία των παιχτών tanbur, στην οποία και ο ίδιος ανήκει, ταυτίζει το αρχικό σηµείο της παράδοσής τους µε αυτό των πρώτων διαθέσιµων ηχογραφήσεων, και πιο συγκεκριµένα µε αυτές του Tanburi Cemil Bey . Η ίδια ιστορική στιγµή έχει εξάλλου αξιολογηθεί από την κυρίαρχη τουρκική µουσική ιστοριογραφία ως σηµείο καµπής στην ιστορία της τουρκικής κλασικής µουσικής, 3 αφού σηµατοδοτεί τη ρήξη µε µία µακρά µουσική παράδοση. Η ρήξη αυτή έχει ταυτιστεί µε τον Tanburi Cemil Bey, στο πρόσωπο του οποίου η τουρκική µουσική ιστοριογραφία έχει αποδώσει την ιδιότητα του νεωτεριστή -είναι ενδεικτικό για παράδειγµα ότι πολύ συχνά γίνεται λόγος για «προ-» και «µετα-» Tanburi Cemil Bey περιόδους. Μέχρι πρόσφατα η παραπάνω περιοδολόγηση καθώς και ο λόγος 4 περί καινοτοµίας µε αφορµή τη φυσιογνωµία του Tanburi Cemil Bey αποτελούσαν παγιωµένες συνθήκες στο πλαίσιο της επίσηµης αφήγησης της µουσικής ιστορίας της Τουρκίας, πλην ελαχίστων εξαιρέσεων προερχοµένων κυρίως από την πλευρά νέων µελετητών που εκφράζουν µια πιο κριτική στάση απέναντι στο ζήτηµα.

Bu makale, Ahmed Adnan Saygun’un (1907-1991) folklor ve
karşılaştırmalı müzikoloji disiplinleri ile ilişkilenen bilimsel çalışmalarını
incelemeyi ve etnomüzikolojiye katkılarını tartışmayı
amaçlar. Saygun’un araştırmalarının sonuçlarını içeren kitaplarının
yanısıra, yurtiçi ve yurtdışında yayımlanmış bildiri ve makaleleri
de bu incelemenin gerecini oluştururlar. Çalışmanın alt
başlıkları, makalenin akışı ile birlikte Saygun’un bilim insanı
olarak formasyonunda rol oynayan etkenleri de yansıtır.