Balkan Popular Culture and the Ottoman Ecumene: Music, by Donna A. Buchanan, Margaret H. Beissinger, Kevin Dawe,

By Donna A. Buchanan, Margaret H. Beissinger, Kevin Dawe, Gabriela Ilnitchi, Vesa Kurkela, Svanibor Pettan, Ljerka Vidic Rasmussen, Carol Silverman, Martin Stokes, Jane C. Sugarman

Because the early 20th century, "balkanization" has signified the customarily militant fracturing of territories, states, or teams alongside ethnic, non secular, and linguistic divides. but the impressive similarities came across between modern Balkan well known track demonstrate the area because the website of a thriving inventive discussion and interchange. The eclectic interweaving of stylistic beneficial properties evidenced by means of Albanian advertisement people song, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to call a number of, issues to an emergent nearby pop culture circuit extending from southeastern Europe via Greece and Turkey.

While this circuit is based upon older cultural confluences from a shared Ottoman background, it additionally has taken form in energetic counterpoint with a number of nearby political discourses. Containing 11 ethnographic case stories, Balkan pop culture and the Ottoman Ecumene: tune, picture, and local Political Discourse examines the interaction among the musicians and well known tune varieties of the Balkan states in the course of the past due Nineties. those case experiences, each one written by means of a longtime neighborhood professional, surround a geographical scope that incorporates Albania, Bosnia and Herzegovina, Bulgaria, the Republic of Macedonia, Croatia, Slovenia, Romania, Greece, Turkey, Serbia, and Montenegro. The publication is observed by means of a VCD that features a picture gallery, sound records, and track video excerpts.

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Extra resources for Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea : Ethnomusicologies and Modernities)

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23 Brandwein’s rendition varies the tune’s original rhythm fairly dramatically, interpolating numerous “filler” melismas at cadences and between phrases. He also tacks on an entirely new section, which is borrowed from a different tune that exists in other klezmer variants and which accentuates the modulation to makam Hicaz alluded to in the Turkish melody. 24 Ethnomusicologist Joel Rubin, whose doctoral dissertation (2003) focuses on Brandwein, believes that the clarinetist encountered Üsküdara through New York City’s Greek community, which exploded between 1890 and 1915 as many Greek citizens sought relief from the military and economic problems then facing their homeland.

Shargiya) was a popular, semi-classical, strophic, makam-based Ottoman song genre of urban derivation that was embraced by the elite and performed at the court and royal palaces by the mid-1600s to the accompaniment of long-necked lutes like the bozuk and tanbura, which provided instrumental introductions and interludes (Erguner 1991:5; Feldman 2002:115; cf. Katsarova 1973:121). Most were love songs whose sentimental, nostalgic texts expressed yearning for one’s beloved, the pain of unrequited love, or helplessness in the face of fate (Erguner 1991:5).

A 1962 Turkish film starring Zeki Müren and called simply Kâtip (Üsküdara Gider Iken), which extends the song’s plot into a longer romantic narrative, depicts the clerk similarly. 7 In an interview with Bulgarian filmmaker Adela Peeva, whose own 2003 documentary about Üsküdara was released as I finished researching this study, Kâtip’s director explained that for Turkish audiences, the clerk was a generic figure, beloved of women. ” 8 After the founding of the Republic of Turkey in 1923, in conjunction with his own reformist modernization campaign, Kemal Atatürk prohibited the formal teaching of Ottoman classical repertory, a sonic symbol of the former regime.

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