Abstract
Instruments play a significant role in establishing peoples’ music at cultural memory and shapes of these instruments hold an important place in cultural memory. For instance, Eastern Black Sea Region is associated with kemençe and Aegean region with sipsi. The immediate vision that comes to memory is that of a tar when Azerbaijan is mentioned, or it is bagpipes for Scotland. When we discuss armudî kemençe (pear shaped kemençe), one of our instruments, which make good examples for our subject, we see that the same form and structure is found in the musical memories of neighbouring geographical regions, under various different names. Instruments, which are referred to as lyra in Greece and Aegean Islands, as lyrica in Croatia, as gadulka in Bulgaria, in Turkey, as kemençe in art music circles, and as tırnak kemane in Kastamonu and its environs, and which have established themselves under these names at memories in their respective territories, have similar traits in terms of performance and morphological features, and are evidential examples of collective music memory. But individuals living in these societies use the name of instrument, what they call in their region while talking about the music instrument. In this paper, forms of instruments, which have established themselves at collective memory, is analyzed through the example of kemençe, the variations of the instrument found in the Balkans and in Anatolia, and their place in collective memories will be discussed in comparison.
Keywords: Musical Instruments, Kemençe, Collective Memory.
Keywords
References
- Baines, Antony, (1992). The Oxford Companion to Musical Instruments, London: Oxford University Press.
- Downie, Margret, (1981). The Rebec: an Orthographic and Iconographic Study”, Ph.D. Dissertation, Virginia Morgantown: West Virginia University.
- Farmer, Henry George, (1925). Byzantine Musical Instruments in the Ninth Century, Journal of the Royal Asiatic Society, April, (299-304).
- Hızır Ağa, (1749). Tefhîm-ül Makâmât fî Tevlîd-in Nagamât, Topkapı Court Museum Library, no.1793.
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- Remnant, Mary, (1968 - 1969). Rebec, Fiddle and Crowd in England, Proceedings of the Royal Musical Association, 95, (15-28).
- Sachs, Curt, (1992). The History of Musical Instruments, New York: W.,W. Norton Company.
- Saussure, Ferdinant, (1959). “A Course in General Linguistics”, ed. Charles Bally and Albert Sechehaye in collaboration with Albert Reidlinger, trans. Wade Baskin, New York: Philosophical Society.
- Butler, Paul. Private Collection.
- Divic, Joseph.Private Collection
Abstract
References
- Baines, Antony, (1992). The Oxford Companion to Musical Instruments, London: Oxford University Press.
- Downie, Margret, (1981). The Rebec: an Orthographic and Iconographic Study”, Ph.D. Dissertation, Virginia Morgantown: West Virginia University.
- Farmer, Henry George, (1925). Byzantine Musical Instruments in the Ninth Century, Journal of the Royal Asiatic Society, April, (299-304).
- Hızır Ağa, (1749). Tefhîm-ül Makâmât fî Tevlîd-in Nagamât, Topkapı Court Museum Library, no.1793.
- İzbul, Yalçın, (1980). İşaret Bilimine Toplu Bakış, Genel Semioloji Kuramı, Journal of Hacettepe Beşeri Bilimler, 3, (52-71).
- Remnant, Mary, (1968 - 1969). Rebec, Fiddle and Crowd in England, Proceedings of the Royal Musical Association, 95, (15-28).
- Sachs, Curt, (1992). The History of Musical Instruments, New York: W.,W. Norton Company.
- Saussure, Ferdinant, (1959). “A Course in General Linguistics”, ed. Charles Bally and Albert Sechehaye in collaboration with Albert Reidlinger, trans. Wade Baskin, New York: Philosophical Society.
- Butler, Paul. Private Collection.
- Divic, Joseph.Private Collection
Details
| Primary Language | English |
|---|---|
| Journal Section | Articles |
| Authors | |
| Publication Date | August 26, 2016 |
| Submission Date | August 24, 2016 |
| Published in Issue | Year 2016Volume: 2 Issue: 5 |
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