KaydedilenlerDerginizi ekleyin

Dergiler / Toplum ve Bilim / 2009 / Sayı: 114

Dünya müziği (world music) söylemlerinde romanlık ve roman müzik icrası: Selim Sesler ve Hüsnü Şenlendirici örneği

Gypsyness and gypsy music performance in world music discourses: The case of Selim Sesler and Hüsnü Şenlendirici

KORAY DEĞİRMENCİ
Sayfa
159–187
DOI
—
🏛️Bu makalenin bibliyografik verileri ve tam metin bağlantısı DergiPark üzerinden sağlanmıştır.
DergiPark Kaydı ↗
✨

Yapay Zeka Hızlı Bakış & Çıkarımlar

AI Insight
⚡ TL;DR(1 Cümlede Hızlı Çıkarım)

The discussion unbundles these various elements of Romanness and traces their articulation into world music discourses.

📌 3 Maddede Bu Makale

🎯
Amaç & Hipotez:This article examines two of the most popular 'Roman' (gypsy) musicians in the Turkish world music market, Selim Sesler and Hüsnü Şenlendirici.
📊
Temel Bulgular & Veri:On the one hand, Romanness symbolizes popular Roman images and their associated notions (such as Roman community or locality, performance styles associated with gypsies, ethnicity, life styles, etc.); but on the other hand, Romanness is used to constitute various marketing discourses of world music (such as the senses of sincerity, locality, exoticity, genuineness, pristineness, authenticity, etc).
💡
Sonuç & Katkı:The discussion unbundles these various elements of Romanness and traces their articulation into world music discourses.
🔬Tür:Araştırma Makalesi
📍Kapsam:Genişletilmiş Akademik Örneklem
⚙️Değişkenler:Alan Parametreleri

Abstract

This article examines two of the most popular 'Roman' (gypsy) musicians in the Turkish world music market, Selim Sesler and Hüsnü Şenlendirici. The article discusses how the notions of gypsyness (Romanness) and the gypsy community and locality are discursively articulated and reconstructed so as to constitute particular elements of 'world music' discourses in Turkey. Romanness and its associated elements wear many masks in this discursive process. On the one hand, Romanness symbolizes popular Roman images and their associated notions (such as Roman community or locality, performance styles associated with gypsies, ethnicity, life styles, etc.); but on the other hand, Romanness is used to constitute various marketing discourses of world music (such as the senses of sincerity, locality, exoticity, genuineness, pristineness, authenticity, etc). Despite their seeming disparity, these discourses of Romanness are oftentimes overlapped and redefined; or they replace each other when they are used in the formation of the marketing strategies and musical subjectivities of the actors. The discussion unbundles these various elements of Romanness and traces their articulation into world music discourses.

🔖

Bu Makaleye Atıf Yap

DEĞİRMENCİ, K. (2009). Dünya müziği (world music) söylemlerinde romanlık ve roman müzik icrası: Selim Sesler ve Hüsnü Şenlendirici örneği. Toplum ve Bilim, Sayı: 114, 159–187. https://ajindex.com/articles/366969

Kaynakça (16)

  1. Appadurai, Arjun (1990) "Disjuncture and difference in the global cultural economy". Public Culture 2(2): 1-/24. Appadurai, Arjun (1999) "Globalization and the research imagination". International Social Science Journal 51 (2): 229-38.
  2. Ceyhan, Selin (2003) A case study of Gypsy/Roma identity construction in Edirne. Yayınlanmamış yüksek lisans tezi, Orta Doğu Teknik Üniversitesi,
  3. Ankara.
  4. Değirmenci, Koray (2008) Turkish world music: Multiple fusions and authenticities. Yayınlanmamış doktora tezi, Orta Doğu Teknik Üniversitesi.
  5. Duygulu, Melih (1998) "Türkiye'de çingeneler". Müzikalite 6: 34-38.
  6. Değirmenci, Koray (2006) Türkiye'de çingene müziği: Batı grubu Romanlarında müzik kültürü. Istanbul: Pan Yayıncılık. Dwyer, Claire ve Philip Crang (2002) "Fashioning ethnicities: The commercial spaces of multiculture". Ethnicities 2(3): 410-30.
  7. Erlmann, Veit (1993) "The politics and aesthetics of transnational musics". The World of Music 35(2): 3-15.
  8. Erlmann, Veit (1994) "Africa civilized, Africa uncivilized: Local culture, world system and South African music". Journal of South African Studies 20 (7): 165-79.
  9. Erlmann, Veit (1996) "The aesthetics of the global imagination: reflections on world music in the 1990s". Public Culture 8: 467-/87. Feld, Steven (1996) "Pygmy POP: A genealogy of schizophonic mimesis". Yearbook for Traditional Music 28: 1-35.
  10. Feld, Steven(2000) "A sweet lullaby for world music". Public Culture 12(1): 145-171.
  11. Feldman, Walter (2002) "Ottoman Turkish music: Genre and form". The Garland encyclopedia of World Music: The Middle East, Cilt 6 içinde, (der.) Virginia Danielson, 113-128. New York ve Londra: Routledge. Fraser, Angus (1995) The peoples of Europe: The Gypsies. Oxford: Blackwell. Frith, Simon (2000) The discourse of world music. Western music and its others: Difference, representation and appropriation in music içinde, (der.) Georgia Born ve David Hesmondhalgh, 305-22.
  12. Berkeley, CA, ve Londra: University of California Press.
  13. Garofalo, Reebe (1993) "Whose world, what beat: The transnational music industry, identity and cultural imperialism". The World of Music 35(2):16-32.
  14. Gazimihal, R. Mahmut (1998 [1953]) "Çingene çalgıcılar". Müzikalite 6: 46-7.
  15. Gibbons, Fiachra (2006) "The Coltrane of the clarinet". The Guardian, 24 Şubat. Ginio, Eyal (2004) "Neither Muslims nor Zimmis: The Gypsies (Roma) in the Ottoman State". Romani Studies 14(2): 117-144.
  16. Gökbilgen, Tayyib (1963) "Çingeneler". İslam Ansiklopedisi içinde. İstanbul: Milli Eğitim Basımev