Dergiler / Musicologist / 2019 / Cilt: 3 - Sayı: 2

Discovering One’s Self Through Embodiment of Tradition in Meşk: An Analysis of the Mode of Transmission in Turkish Performative Traditions

Sayfa
146–164
Yayın Tarihi
2019-12-31
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)

In this manner, they act as a part of the traditional chain that maintains heart-to-heart transmission of spirituality.

📌 3 Maddede Bu Makale

🎯
Amaç & Hipotez:Meşk is a polysemic concept that originates from traditional Turkish music and denotes both an embodied mode of transmission and a participatory performance style that characterizes Turkish performative traditions.
📊
Temel Bulgular & Veri:As a traditional mode of transmission, it is the face-to-face training method that is based on the pupil’s faithful repetition/imitation of the master’s performance.
💡
Sonuç & Katkı:In this manner, they act as a part of the traditional chain that maintains heart-to-heart transmission of spirituality.
🔬Tür:Araştırma Makalesi
📍Kapsam:Genişletilmiş Akademik Örneklem
⚙️Değişkenler:Turkish performative traditions · transmission · meşk

Abstract

Meşk is a polysemic concept that originates from traditional Turkish music and denotes both an embodied mode of transmission and a participatory performance style that characterizes Turkish performative traditions. As a traditional mode of transmission, it is the face-to-face training method that is based on the pupil’s faithful repetition/imitation of the master’s performance. As a performance style, it combines repetition with innovation, as it is based on improvisation according to already existing traditional patterns. This idiosyncratic correlation between repetition and change in meşk produces a unique aesthetics, in which the performers search for the new that does not get old. This search is connected to the mystical teaching of tasavvuf that is particular to Turkish culture. Following tasavvuf’s objective of discovering one’s self through disciplining the soul by disciplining the body, the performers of Turkish traditions search for their selves through practicing the arts they try to master. In this manner, they act as a part of the traditional chain that maintains heart-to-heart transmission of spirituality.

🔖

Bu Makaleye Atıf Yap

ÖZDEMİR, Ş. S. (2019). Discovering One’s Self Through Embodiment of Tradition in Meşk: An Analysis of the Mode of Transmission in Turkish Performative Traditions. Musicologist, Cilt: 3 - Sayı: 2, 146–164. https://ajindex.com/articles/792667

📄 Tam Metin PDF Okuyucu

📄

PDF görüntüleyici hazırlanıyor...

Kaynakça (9)

  1. Albright, Charlotte F. (1976). “The Azerbaijani Cāshiq and His Performance of a Dāstān” Iranian Studies. 9(4): 220–247.
  2. And, Metin. (2003). Oyun ve Bügü: Türk Kültüründe Oyun Kavramı (Oyun and Bügü: The Concept of Play in Turkish Culture). Istanbul: Yapı Kredi Publications. [Original work published 1974, İş Bankası Kültür Publications] And, Metin. (2004). Başlangıcından 1983’e Türk Tiyatro Tarihi (The History of Turkish Theatre: From its Beginning to 1983). Istanbul: İletişim Publications. Arıcı, Oğuz. (2011). “Geleneksel Türk Tiyatrosunun Ölümü (The Death of Traditional Turkish Theatre)” İstanbul Üniversitesi Edebiyat Fakültesi Tiyatro Eleştirmenliği ve Dramaturji Bölüm Dergisi (Istanbul University Journal of Theatre Criticism and Dramaturgy). 19: 1-31.
  3. Ayas, Güneş. (2015). “Alâeddin Yavaşça ve Meşk Ahlakı: Yaşayan Bir Geleneğin Sosyolojik Analizi (Alâeddin Yavaşça and the Ethics of Meşk: Sociological Analysis of a Living Tradition)” Sosyologca. 9: 81-96.
  4. Başgöz, İlhan. (2008). Hikâye: Turkish Folk Romance as Performance Art. Bloomington, Indiana: Indiana University Press.
  5. Bayındır, Abdülaziz. (1988). “Âdâb” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 1, Ed. Mustafa Birol Ülker: pp. 334. Istanbul: Türkiye Diyanet Foundation. Behar, Cem. (2014). Aşk Olmayınca Meşk Olmaz: Geleneksel Osmanlı/Türk Müziğinde Öğretim ve İntikal (There can be no Meşk without Love: Teaching and Transmission in Ottoman/Turkish Music). Istanbul: Yapı Kredi Publications. [Original work published 1988].
  6. Bourdieu, Pierre. (1984). Distinction: A Social Critique of the Judgement of Taste (Nice, Richard, Trans.) Cambridge, MA: Harvard University Press.
  7. Bryant, Rebecca. (2005). “The Soul Danced into the Body: Nation and Improvisation in Istanbul” American Ethnologist. 32(2): 222-238. Büyük Türkçe Sözlük (Great Turkish Dictionary). (2019a, 10.12.2019). Gönül. Retrieved from http://www.tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid=TDK.GTS.558a5a54dd2a47.89688061 Büyük Türkçe Sözlük (Great Turkish Dictionary). (2019b, 10.12.2019). Sine. Retrieved from http://www.tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid=TDK.GTS.558a5a5be4ed00.97714534 Deschênes, Bruno; Eguchi, Yuko. (2018). “Embodied Orality: Transmission in Traditional Japanese Music” Asian Music. 49(1): 58-79.
  8. Gade, M. Anna. (2007). “Islam” The Oxford Handbook of Religion and Emotion, Ed. John Corrigan: pp. 35–47. Oxford: Oxford University Press.
  9. Gill-Gürtan, Denise. (2011). “Performing Meşk, Narrating Histor