Review of "Grèce. Koumpania Xalkias: Musiciens traditionnels d’Épire/Greece. Koumpania Xalkias: Traditional Musicians of Epirus" (2004), Journal of the Society for Ethnomusicology 59.1 (original) (raw)
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Greece as an intercultural pole of musical thought and creativity. International Musicological Conterence, June 6-10, 2011, Thessaloniki, 2013
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The Traditional Music of Podhale
2014
The author describes the traditional music of Podhale, focusing primarily on its twentieth-century history. He also refers to the contemporary changes in this kind of music. The author shows both the relationship between music and identity, highlanders’ customs, as well as the influence of the music on the works of professional artists. Referring to the ethno-musicological methodology, on the examples of certain compositions, the author analyses types of musical forms from the Podhale region, their characteristics and styles. He compares the music of Podhale with the compositions of other ethnic groups. * * * Autor opisuje tradycyjną muzyke Podhala, skupiając sie przede wszystkim na jej dwudziestowiecznej historii. Odnosi sie takze do jej wspolczesnych przemian. Pokazuje zarowno relacje miedzy muzyką a tozsamością, zwyczajami Gorali, jak tez sygnalizuje wplywy tej muzyki na tworczośc artystow profesjonalnych. Odwolując sie do metodologii etnomuzykologicznej, na przykladzie konkretny...
oggetti II (2021), written between November 17 and December 7, 2021 for the TACETi Ensemble and Thailand New Music and Arts Symposium, is the second work in a larger cycle exploring concise musical objects, gestures, and formal constellations. Over time, my compositional process has become increasingly introspective and critical—thus, oggetti II is an attempt to re-capture the spirit of my earlier works with a more spontaneous and economical nature. oggetti I (Omaggio a Sciarrino) for wind quintet and antistasis for Ensemble Nikel were composed nearly simultaneously in a 10-day period during the summer of 2014 in NYC. Many concepts and compositional devices are shared, but not musical materials. antistasis, meaning opposition, is a rhetorical term for the repetition of a word or phrase in a different or contrary sense. This was poetically translated through the repetition of a small number of musical gestures, or objects, continually recurring and recontextualized so as to contribute to the composite in different ways. oggetti I and now oggetti II both function in a similar manner, drawing upon extremely limited materials reconfigured in various ways, something like a musical jigsaw puzzle.
Playing Multipart Music, 2021
Based on previous research on the Serbian bagpipe tradition, especially personal research on the manner and level of correlation among the harmonic structures of traditional music performed on different types of bagpipes and (local) vocal practices, it is my intention to broaden the comprehension of the musical texture of bagpipes with a double pipe and drone in Serbia. As this deals with a type of instrument which is found internationally, the findings could be significant for comparative studies of Eastern European bagpipes. In the present article attention is paid to the bagpipe as a solo multipart instrument in its dominant function as an instrument for dance music as well as in its less frequent function as an accompanying instrument for songs. The possibility of realizing vocal-instrumental arrangements, accomplished by using bellows on the bagpipe variant from Vojvodina, the northern province of Serbia, introduces a specific fourpart texture. The musical texture of three-voice bagpipes will also be considered as a way of musical thinking in a broader sense-with regard to the vocal practice of this geocultural area and other multipart instruments which are simultaneously present in the region. The diachronic contextualization includes the consideration of bagpipe three-part texture as an influence on the Serbian accordion tradition, especially during its initial period. Multipart sound as an essential feature of the bagpipes has been 1 Acknowledgments: This paper is the result of research realized at the Institute of Musicology of the Serbian Academy of Sciences and Arts funded by the Ministry of Education, Science and Technological Development of the Republic of Serbia. I owe special gratitude to Saša Spasojević, a non-professional researcher from Belgrade, for providing me with the opportunity to view his private photo collection, his catalogue and to use his collection of 78 rpm records. Furthermore, I would like to gratefully acknowledge an anonymous referee and my colleagues/editors from the Department for Folk Music Research and Ethnomusicology of the University of Music and Performing Arts Vienna, especially Prof. Dr. Ulrich Morgenstern for insightful comments and suggestions and help in shaping the final version of this paper. 29 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC 4.0
Lithuanian multipart music is well known first and foremost for the vocal repertoire called by a common name sutartinės. Long years of the existence of sutartinės have proved that these songs' tradition is similar to 40 different ways of performance recorded at the beginning of the 20th century. Despite the fact that, according to tradition, women sing and men play this music on instruments , vocal sutartinės are undoubtedly associated with pieces of multipart instrumental music. They were performed by skudučiai 'multipart whistles', daudytės 'long wooden trumpets', lumzdeliai 'wooden pipes (flutes)' and played on five stringed kanklės 'zither'. The interaction between voice and instrument in the tradition of Lithuanian multipart music is demonstrated by
'Five Songs Without Words' New Compositions for the Anatolian Baglama
Muharrem Aslan - 'Five Songs Without Words' New Compositions for the Anatolian Baglama, 2020
This thesis is an exposition of the practice of the Anatolian baglama (bağlama), a long- necked, plucked lute and one of the most commonly used folk instruments in Turkey. More specifically, the exposition serves as the background for an exegesis of five novel, etude-style compositions that I have composed for the instrument. The five compositions are intended for the advanced level baglama performer as they comprise a number of challenging technical and musical innovations. The expository background of the thesis outlines the historical and musical contexts of the baglama, paying particular attention to the musical foundations of the repertoire, various styles and developments in playing technique. In so doing, I outline the contributions of the key baglama performers in terms of the techniques and compositions they have developed since the1960s. This background serves as a point of departure for addressing three central aims entailed in composing these etudes. Firstly, I aim to provide both technical progression and musical challenges; secondly, I aim to take into account the relationship between the aesthetic and the pedagogical aims of each etude; and, thirdly, I aim to further develop the innovative approaches to baglama playing that has been a feature of the tradition in the last decades of the 20th Century.