Dersin Adı
|
Türkçe |
Akdeniz Kültürlerinde Müzik
|
| İngilizce |
Music in Mediterrane.Cultures |
Dersin Kodu
|
MYE 514E |
Kredi |
Ders
(saat/hafta) |
Uygulama
(saat/hafta) |
Labratuvar
(saat/hafta) |
| Dönem |
-
|
3 |
3 |
- |
- |
| Dersin Dili |
İngilizce |
| Dersin Koordinatörü |
Wıllıam Sumıts
|
| Dersin Amaçları |
1. Öğrencileri Akdeniz coğrafyasında yer alan müziklerle genel anlamda tanıştırmak,
2. Öğrencilere belli bir coğrafyadaki müzik kültürlerini incelerken kültürel farklılıklar ve ortaklıkları tespit edip müzikal çeşitlilik kavramını anlatmak,
|
| Dersin Tanımı |
Akdeniz müzikleri ve kültürlerine tarihsel-etnomüzikolojik bakış, Antik Mısır uygarlığı ve müzik, Akdeniz’de Yahudi müzikleri, Girit ve Yunan uygarlığında müzik, Anadolu uygarlıkları ve müzik, Antik Roma ve müzik, Bizans’ta müzik, İslam öncesi Arap uygarlıklarında müzik,Kuzey Afrika müzikleri ve etkileri,
|
| Dersin Çıktıları |
Bu dersi başarı ile tamamlayan öğrenciler aşağıdaki bilgi, beceri ve yetkinlikleri kazanır;
1. Akdeniz coğrafyasındaki temel müzik türleri ile ilgili bilgi edinilmesi
2. Akdeniz coğrafyasındaki kültürlerarası etkileşimin tarihsel kaynakları hakkında bilgi edinilmesi,
3. Akdeniz müziklerine dair yabancı dillerde yayınlanmış yazını tarama becerisinin kazandırılması,
4. Bu çalışmaların ışığında Türkiye’deki müzik oluşumlarını kültürel tarih içerisinde konumlandırabilme yetkinliğinin kazandırılması |
| Önkoşullar |
|
| Gereken Olanaklar |
|
| Diğer |
|
| Ders Kitabı |
Racy, Ali Jihad. “Introduction.” In Making Music in the Arab World: the culture and
artistry of Tarab, 1-14. Cambridge: Cambridge University Press, 2004.
Shannon, Jonathan. “One: Among the Jasmine Trees.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 22-51. Middletown: Wesleyan University Press, 2009.
Racy, Ali Jihad. “Culture.” In Making Music in the Arab World: the culture and
artistry of Tarab, 15-42. Cambridge: Cambridge University Press, 2004.
Shannon, Jonathan. “Two: Sentiment and Authentic Spirit- Composing Syrian Modernity.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 52-82. Middletown: Wesleyan University Press, 2009.
Touma, Habib Hasan. “Genres of Secular Art Music.” in The Music of the Arabs, 55-
108. Portland: Amadeus Press, 1996.
Racy, Ali Jihad. “Historical Worldviews of Early Ethnomusicologists: An East-West Encounter in Cairo, 1932.” In Ethnomusicology and Modern Music History, edited by Stephen Blum, et al, 278-308. Urbana: University of Illinois Press, 1991.
Thomas, Anne Elise. “Intervention and reform of Arab music in 1932 and beyond.” Proceedings of the Conference on Music in the world of Islam, Assilah, 8013 August, 2007.
Iino, Lisa. “Inheriting the Ghammaz-oriented Tradition: D’Erlanger and Aleppine Maqam Practice Observed.” Ethnomusicology Forum 18, no. 2 (2009): 261-280.
D’Erlanger, Baron Rodolphe. La Musique Arabe, Tome Cinquieme. Paris: Librairie Orientaliste Paul Geuthner, 1949.
Racy, Ali Jihad. “Record Industry and Egyptian Traditional Music: 1904-1932.”
Ethnomusicology 20, no. 1 (1976): 23-48.
Racy, Ali Jihad. “Arabian Music and the Effects of Commercial Recording.” The World
of Music 20, no. 1 (1978): 47-58.
el-Shawan, Salwa. “Radio and Musical Life in Egypt.” Revista de Musicologia 16, no. 3 (1993): 1229-1239.
Frishkopf, Michael. “Nationalism, Nationalization, and the Egyptian Music Industry:
Muhammad Fawzy, Misrphon, and Sawt al-Qahira (Sono Cairo).” Asian Music
39, no. 2 (2008): 28-58.
Racy, Ali Jihad. “Performance.” In Making Music in the Arab World: the culture and
artistry of Tarab, 43-74. Cambridge: Cambridge University Press, 2004.
el-Shawan, Salwa. “The Role of Mediators in the Transmission of al-Musiqa al-‘Arabiyyah in Twentienth Century Cairo.” Yearbook for Traditional Music, vol. 14 (1982): 55-74.
el-Shawan, Salwa. “Traditional Arab Music Ensembles in Egypt since 1967: ‘The Continuity of Tradition within a Contemporary Framwork?’” Ethnomusicology 28, no. 2 (1984): 271-288.
Asmar, Sami, and Kathleen Hood. ”Modern Arab Music: Portraits of Enchantment from the Middle Generation.” In Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East, edited by Sherifa Zuhur, 297-320. Cairo: American University of Cairo Press, 2001.
Danielson, Virginia. “New Nightingales of the Nile: Popular Music in Egypt Since the
1970’s”. Popular Music 15, no. 3 (1996): 299-312.
Racy, Ali Jihad. “The Waslah: A Compound-Form Principle in Egyptian Music.” Arab
Studies Quarterly 5, no. 4 (1983): 396-403.
Shannon, Jonathan. “Five: Authentic Performance and the Performance of Authenticity.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 106-129. Middletown: Wesleyan University Press, 2009.
Racy, Ali Jihad. “Music” In Making Music in the Arab World: the culture and
artistry of Tarab, 75-119. Cambridge: Cambridge University Press, 2004.
Shannon, Jonathan. “al-Muwashshahat and al-Qudud: Two Genres in the Aleppine
‘Wasla’.” Middle East Studies Association Bulletin 37, no. 1 (2003): 82-101.
Marcus, Scott. “Modulation in Arab Music: Documenting Oral Concepts, Performance
Rules and Strategies.” Ethnomusicology 36, no. 2 (1992): 171-195.
Waugh, Earle H. “Ritual Leadership in the ‘Dhikr’: The Role of the ‘Munshidin’ in Egypt.” Journal of Ritual Studies 5, no. 1 (1991): 93-108.
Frishkopf, Michael. “Tarab in the Mystic Sufi Chant of Egypt.” In Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East, edited by Sherifa Zuhur, 233-269. Cairo: American University of Cairo Press, 2001.
Shannon, Jonathan. “Four: Body Memory, Temporality, and Transformation in the Dhikr.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 106-129. Middletown: Wesleyan University Press, 2009.
Racy, Ali Jihad. “Sultanah.” In Making Music in the Arab World: the culture and
artistry of Tarab, 120-146, . Cambridge: Cambridge University Press, 2004.
Grippo, James. “What’s Not on Egyptian Television and Radio! Locating the ‘Popular’ in Egyptian Sha’bi.” In Music and Media in the Arab World, edited by Michael Frishkopf, 137-162. Cairo: American University of Cairo Press, 2010.
Cachia, Pierre. “The Egyptian Mawwal: Its Ancestry, Its Development, and Its Present Forms.” Journal of Arabic Literature 8 (1977): 77-103.
Hanna, Sami. “The Mawwal in Egyptian Folklore.” Journal of American Folklore 80, no. 316 (1967): 182-190.
Peterson, Jennifer. “Remixing Songs, Remaking Mulids: The Merging Spaces of Dance Music and Saint Festivals in Egypt.” In Dimensions of Locality: Muslim Saints, their Place and Space (Yearbook of the Sociology of Islam 8), edited by Georg Stauth and Samuli Schielke (2008): 67-88.
Shiloah, Amnon. “The Simsimiyya: A Stringed Instrument of the Red Sea Ara.” Asian Music 4, no. 1 (1972): 15-26.
Hood, Kathleen, and Mohammad Al-Oun. “Changing Performance Traditions and Bedouin Identity in the North Badiya, Jordan.” Nomadic Peoples 18, no. 2 (2014): 78-99.
Reynolds, Dwight. “The Economy of Poetic Style.” In Heroic Poets, Poetic Heroes, 102-136. New York: Cornell University Press, 1995.
Racy, Ali Jihad. “Lyrics.” In Making Music in the Arab World: the culture and
artistry of Tarab, 147-190. Cambridge: Cambridge University Press, 2004.
Racy, Ali Jihad. “Heroes, Lovers, and Poet-Singers: The Bedouin Ethos in the Music of the Arab Near-East.” Journal of American Folklore 109, no. 434 (1996): 404-424.
Al-Taee, Nasser. “Enough, Enough, Oh Ocean: Music of the Pearl Divers in the
Arabian Gulf.” Middle East Studies Association Bulletin 39, no. 1 (2005): 19-30.
Touma, Habib Hassan. “The Fidjri, a Major Vocal Form of the Bahrain Pearl Divers.”
The World of Music 19, no. 3/4 (1977): 121-127.
Urkevich, Lisa. “Sea Music Traditions, and Saut.” In Music and Traditions of the
Araban Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, 153-177. New
York: Routledge, 2015.
Ulaby, Laith. “On the Decks of Dhows: Musical Traditions of Oman and the Indian
Ocean World.” The World of Music 1, no. 2 (2012): 43-62.
al-Harthy, Majid H. “African Identities, Afro-Omani Music, and the Official Constructions of a Musical Past.” The World of Music 1, no. 2 Music in Oman: Politics, Identity, Time and Space in the Sultanate (2012): 97-129.
Urkevich, Lisa. “Incoming Arts: African and Persian.” In Music and Traditions of the
Araiban Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, 138-152. New York: Routledge, 2015.
Ulaby, Laith. “Mass Media and Music in the Arab Persian Gulf.” In Music and Media in the Arab World, edited by Michael Frishkopf, 111-126. Cairo: American University of Cairo Press, 2010.
Urkevich, Lisa. “Hijazi Women and Music Making” & “Distinguished Hijazi Artists.” In Music and Traditions of the Arabian Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, 242-260. New York: Routledge, 2015.
Hassan, Scheherezade. “A space of inclusiveness: The case of the art music of Iraq.”
International Journal of Contemporary Iraqi Studies 2, no. 1 (2008): 115-128.
Hassan, Scheherezade. “Between Formal Structure and Performance Practice: On the Baghdadi Secular Cycles.” In Theory and Practice in the Music of the Islamic World, edited by Rachel Harris and Martic Stokes, 273-292. New York: Routledge 2018.
Racy, Ali Jihad. “Tarab in Perspective.” In Making Music in the Arab World: the
culture and artistry of Tarab, 191-225. Cambridge: Cambridge University
Press, 2004.
Shannon, Jonathan. “Tarab, Sentiment, and Authenticity.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 158-187 . Middletown: Wesleyan University Press, 2009. |
| Diğer Referanslar |
Racy, Ali Jihad. “Introduction.” In Making Music in the Arab World: the culture and
artistry of Tarab, 1-14. Cambridge: Cambridge University Press, 2004.
Shannon, Jonathan. “One: Among the Jasmine Trees.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 22-51. Middletown: Wesleyan University Press, 2009.
Racy, Ali Jihad. “Culture.” In Making Music in the Arab World: the culture and
artistry of Tarab, 15-42. Cambridge: Cambridge University Press, 2004.
Shannon, Jonathan. “Two: Sentiment and Authentic Spirit- Composing Syrian Modernity.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 52-82. Middletown: Wesleyan University Press, 2009.
Touma, Habib Hasan. “Genres of Secular Art Music.” in The Music of the Arabs, 55-
108. Portland: Amadeus Press, 1996.
Racy, Ali Jihad. “Historical Worldviews of Early Ethnomusicologists: An East-West Encounter in Cairo, 1932.” In Ethnomusicology and Modern Music History, edited by Stephen Blum, et al, 278-308. Urbana: University of Illinois Press, 1991.
Thomas, Anne Elise. “Intervention and reform of Arab music in 1932 and beyond.” Proceedings of the Conference on Music in the world of Islam, Assilah, 8013 August, 2007.
Iino, Lisa. “Inheriting the Ghammaz-oriented Tradition: D’Erlanger and Aleppine Maqam Practice Observed.” Ethnomusicology Forum 18, no. 2 (2009): 261-280.
D’Erlanger, Baron Rodolphe. La Musique Arabe, Tome Cinquieme. Paris: Librairie Orientaliste Paul Geuthner, 1949.
Racy, Ali Jihad. “Record Industry and Egyptian Traditional Music: 1904-1932.”
Ethnomusicology 20, no. 1 (1976): 23-48.
Racy, Ali Jihad. “Arabian Music and the Effects of Commercial Recording.” The World
of Music 20, no. 1 (1978): 47-58.
el-Shawan, Salwa. “Radio and Musical Life in Egypt.” Revista de Musicologia 16, no. 3 (1993): 1229-1239.
Frishkopf, Michael. “Nationalism, Nationalization, and the Egyptian Music Industry:
Muhammad Fawzy, Misrphon, and Sawt al-Qahira (Sono Cairo).” Asian Music
39, no. 2 (2008): 28-58.
Racy, Ali Jihad. “Performance.” In Making Music in the Arab World: the culture and
artistry of Tarab, 43-74. Cambridge: Cambridge University Press, 2004.
el-Shawan, Salwa. “The Role of Mediators in the Transmission of al-Musiqa al-‘Arabiyyah in Twentienth Century Cairo.” Yearbook for Traditional Music, vol. 14 (1982): 55-74.
el-Shawan, Salwa. “Traditional Arab Music Ensembles in Egypt since 1967: ‘The Continuity of Tradition within a Contemporary Framwork?’” Ethnomusicology 28, no. 2 (1984): 271-288.
Asmar, Sami, and Kathleen Hood. ”Modern Arab Music: Portraits of Enchantment from the Middle Generation.” In Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East, edited by Sherifa Zuhur, 297-320. Cairo: American University of Cairo Press, 2001.
Danielson, Virginia. “New Nightingales of the Nile: Popular Music in Egypt Since the
1970’s”. Popular Music 15, no. 3 (1996): 299-312.
Racy, Ali Jihad. “The Waslah: A Compound-Form Principle in Egyptian Music.” Arab
Studies Quarterly 5, no. 4 (1983): 396-403.
Shannon, Jonathan. “Five: Authentic Performance and the Performance of Authenticity.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 106-129. Middletown: Wesleyan University Press, 2009.
Racy, Ali Jihad. “Music” In Making Music in the Arab World: the culture and
artistry of Tarab, 75-119. Cambridge: Cambridge University Press, 2004.
Shannon, Jonathan. “al-Muwashshahat and al-Qudud: Two Genres in the Aleppine
‘Wasla’.” Middle East Studies Association Bulletin 37, no. 1 (2003): 82-101.
Marcus, Scott. “Modulation in Arab Music: Documenting Oral Concepts, Performance
Rules and Strategies.” Ethnomusicology 36, no. 2 (1992): 171-195.
Waugh, Earle H. “Ritual Leadership in the ‘Dhikr’: The Role of the ‘Munshidin’ in Egypt.” Journal of Ritual Studies 5, no. 1 (1991): 93-108.
Frishkopf, Michael. “Tarab in the Mystic Sufi Chant of Egypt.” In Colors of Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East, edited by Sherifa Zuhur, 233-269. Cairo: American University of Cairo Press, 2001.
Shannon, Jonathan. “Four: Body Memory, Temporality, and Transformation in the Dhikr.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 106-129. Middletown: Wesleyan University Press, 2009.
Racy, Ali Jihad. “Sultanah.” In Making Music in the Arab World: the culture and
artistry of Tarab, 120-146, . Cambridge: Cambridge University Press, 2004.
Grippo, James. “What’s Not on Egyptian Television and Radio! Locating the ‘Popular’ in Egyptian Sha’bi.” In Music and Media in the Arab World, edited by Michael Frishkopf, 137-162. Cairo: American University of Cairo Press, 2010.
Cachia, Pierre. “The Egyptian Mawwal: Its Ancestry, Its Development, and Its Present Forms.” Journal of Arabic Literature 8 (1977): 77-103.
Hanna, Sami. “The Mawwal in Egyptian Folklore.” Journal of American Folklore 80, no. 316 (1967): 182-190.
Peterson, Jennifer. “Remixing Songs, Remaking Mulids: The Merging Spaces of Dance Music and Saint Festivals in Egypt.” In Dimensions of Locality: Muslim Saints, their Place and Space (Yearbook of the Sociology of Islam 8), edited by Georg Stauth and Samuli Schielke (2008): 67-88.
Shiloah, Amnon. “The Simsimiyya: A Stringed Instrument of the Red Sea Ara.” Asian Music 4, no. 1 (1972): 15-26.
Hood, Kathleen, and Mohammad Al-Oun. “Changing Performance Traditions and Bedouin Identity in the North Badiya, Jordan.” Nomadic Peoples 18, no. 2 (2014): 78-99.
Reynolds, Dwight. “The Economy of Poetic Style.” In Heroic Poets, Poetic Heroes, 102-136. New York: Cornell University Press, 1995.
Racy, Ali Jihad. “Lyrics.” In Making Music in the Arab World: the culture and
artistry of Tarab, 147-190. Cambridge: Cambridge University Press, 2004.
Racy, Ali Jihad. “Heroes, Lovers, and Poet-Singers: The Bedouin Ethos in the Music of the Arab Near-East.” Journal of American Folklore 109, no. 434 (1996): 404-424.
Al-Taee, Nasser. “Enough, Enough, Oh Ocean: Music of the Pearl Divers in the
Arabian Gulf.” Middle East Studies Association Bulletin 39, no. 1 (2005): 19-30.
Touma, Habib Hassan. “The Fidjri, a Major Vocal Form of the Bahrain Pearl Divers.”
The World of Music 19, no. 3/4 (1977): 121-127.
Urkevich, Lisa. “Sea Music Traditions, and Saut.” In Music and Traditions of the
Araban Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, 153-177. New
York: Routledge, 2015.
Ulaby, Laith. “On the Decks of Dhows: Musical Traditions of Oman and the Indian
Ocean World.” The World of Music 1, no. 2 (2012): 43-62.
al-Harthy, Majid H. “African Identities, Afro-Omani Music, and the Official Constructions of a Musical Past.” The World of Music 1, no. 2 Music in Oman: Politics, Identity, Time and Space in the Sultanate (2012): 97-129.
Urkevich, Lisa. “Incoming Arts: African and Persian.” In Music and Traditions of the
Araiban Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, 138-152. New York: Routledge, 2015.
Ulaby, Laith. “Mass Media and Music in the Arab Persian Gulf.” In Music and Media in the Arab World, edited by Michael Frishkopf, 111-126. Cairo: American University of Cairo Press, 2010.
Urkevich, Lisa. “Hijazi Women and Music Making” & “Distinguished Hijazi Artists.” In Music and Traditions of the Arabian Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, 242-260. New York: Routledge, 2015.
Hassan, Scheherezade. “A space of inclusiveness: The case of the art music of Iraq.”
International Journal of Contemporary Iraqi Studies 2, no. 1 (2008): 115-128.
Hassan, Scheherezade. “Between Formal Structure and Performance Practice: On the Baghdadi Secular Cycles.” In Theory and Practice in the Music of the Islamic World, edited by Rachel Harris and Martic Stokes, 273-292. New York: Routledge 2018.
Racy, Ali Jihad. “Tarab in Perspective.” In Making Music in the Arab World: the
culture and artistry of Tarab, 191-225. Cambridge: Cambridge University
Press, 2004.
Shannon, Jonathan. “Tarab, Sentiment, and Authenticity.” In Among the Jasmine Trees: Music and Modernity in Contemporary Syria, 158-187 . Middletown: Wesleyan University Press, 2009. |
|
|