ICTM Study Group on Music of the Turkic-speaking World (original) (raw)
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Journal of Literature and Art Studies, 2016
The long-term goal of my research has been to systematize and compare by musical criteria the folk songs of Turkic groups and ethnicities living around them. Here I rarely touch on instrumental folk music, the repertoire of professional or semi-professional performers, the most recent strata, seldom or just occasionally discuss art music and the cultural, social and anthropological implications of music are only sporadically considered, too. There are close connections between the languages of Turkic groups but their musical stocks are fundamentally different. Actually, that is not surprising, because these people are, at least in part, Turkified, and through their substrata (that is people absorbed by them) they are in genetic and cultural relations with several non-Turkic peoples. My research therefore has repercussions; apart from the Turkic-speaking peoples tied by culture, language and history, upon their neighbors and partly absorbed other peoples, creating the foundation for an even broader future comparative ethnomusicological research of Eurasian groups. This paper is aimed to provide a very short summary about the findings of my field researches into the folk music of different Turkic-speaking people between 1987 and 2015. I introduce the sources, the collecting work and the methods of processing and analyzing the songs. I also give an analytical introduction to the folksong of Anatolian Turks, Azeris, Turkmens, Uzbeks (and Tajiks), Karachay-Balkars, Kazakhs, Kyrgyzs, a Sufi Turkish community in Thrace and the area of the Volga-Kama-Belaya region. Finally comes a conclusion, a musical map and a list of tasks waiting for us.
In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)
Studia Musicologica
The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize ...
About the results of my folk music researches among the Turkic peoples (1987–2015)
MUSIC IN THE TURKIC-MUSLIM WORLD: THE SECULAR AND THE RELIGIOUS, Proceedings of the International academic conference, MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION ZHIGANOV KAZAN STATE CONSERVATOIRE, Kazan, November 14–16, , 2022
Hungarian prehistory displays a peculiar duality of language and music: the language belongs to the Finno-Ugric family, while several pre-Conquest strata of the folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations quite early; to mention but the most important scholars: Zoltán Kodály [10] demonstrated Cheremis and Chuvash analogies in the first place; Béla Bartók [1, 2] drew still valid conclusions about the folk music of Anatolia from a relatively small material; Lajos Vargyas [36, 37, 38, 39] carried out the comprehensive historical investigation of the folk music of the Volga-Kama region; Bence Szabolcsi [30–35] demonstrated even broader international musical connections after surveying an enormous material; Katalin Paksa [12] studied the eastern relations of our narrow-range tetra- and pentatonic tunes; László Dobszay [5, 6] and László Dobszay – Janka Szendrei [4, 8] – applying a novel approach to the Hungarian folk music material – reviewed the international material in regard to the lament and psalmodic styles, among other things. In keeping with the noblest traditions of Hungarian folk music research, investigations authenticated by fieldwork have been going on to this day parallel with theoretical research. Most important among them for my present dissertation are Béla Bartók’s Anatolian collecting in 1936, László Vikár’s and Gábor Bereczki’s areal field research in the territory designated by the Volga, Kama and Belaya in 1957–1978 [Vikár 40–49; Vikár – Bereczki 50–53] and my field research activity among Turkic ethnicities since 1987 [14–29]. At the beginning, the main goal of this research series was to explore the eastern relations of the Hungarian folk music, which gradually broadened into the areal folk music research of the multi-ethnic Volga-Kama-Belaya region. I further expanded it into the comparative investigation of diverse Turkic-tongued groups living over the vast Eurasian territory. In the meantime, the study of Hungarian prehistoric connections was also going on.
Turkic Soundscapes, 2018
The Turkic soundscape is both geographically huge and culturally diverse (twentyeight countries, republics and districts extending from Eastern Europe through the Caucasus and throughout Central Asia). Although the Turkic peoples of the world can trace their linguistic and genetic ancestries to common sources, their extensive geographical dispersion and widely varying historical and political experiences have generated a range of different expressive music forms. In addition, the breakup of the Soviet Union and increasing globalization have resulted in the emergence of new viewpoints on classical and folk traditions, Turkic versions of globalized popular culture, and re-workings of folk and religious practices to fit new social needs. In line with the opening up of many Turkic regions in the post-Soviet era, awareness of scholarship from these regions has also increased. Consisting of twelve individual contributions that reflect the geographical breadth of the area under study, the collection addresses animist and Islamic religious songs; the historical development of Turkic musical instruments; ethnography and analysis of classical court music traditions; cross-cultural influences throughout the Turkic world; music and mass media; and popular music in traditional contexts. The result is a well-balanced survey of music in the Turkic-speaking world, representing folk, popular and classical traditions equally, as well as discussing how these traditions have changed in response to growing modernity and cosmopolitanism in Europe and Central Asia.
Proceedings of The International Conference on Social Sciences in the 21st Century, 2019
The article raises the problem of comparative-typological study of Central Asian musical cultures. There is a huge diversity of ethnic and musical traditions in this region, which are still poorly investigated comparatively. The purpose of the study is to consider the issues related to geographical-territorial, linguistic, economic-cultural parameters of Central Asian region, which played a major role in formation of different superethnic communities and cultural systems. The methods of modern ethnology and ethnomusicology with data and methods of related sciences and comparative-historical, comparative-typological and other methods were used. The author believes that the main Central Asian superethnoses-Turkic-Mongolian and Turkic-Iranianbelong to different Eastern (nomadic and settledagricultural) cultural civilizations. Creators of nomadic civilization (Eastern Turkic and Mongolian peoples) are labeled by scientists as Tengrian superethnos, in contrast to Muslim superethnos, which was joined by most of Western Turks. The successors of Central Asian nomadic civilization are all modern Turkic and Mongolian peoples. In this question, the scientist borrows G. Vico's idea about cyclicity of civilizations and presence of the era of gods (ancient periodmythology), the era of heroes (middle agesheroic epic) and the era of people (new timelyrics) in each of them. Representatives of Turkic-Mongolian (Tengrian) superethnos preserved the most archaic layers of music and its core elements that form the basis of the Turkic musical thinking (bourdon, guttural singing). We can talk about the actual cultural assimilation of Western Turks, who settled and fell under the influence of local musical cultures of the Middle East (makamat).
Ethnomusicology Forum Music and Identity in Central Asia: Introduction Razia Sultanova
Ethnomusicology Forum Vol. 14, No. 2, November pp. 131 /142, 2005
Music and Identity in Central Asia: Introduction Razia Sultanova This introduction gives a short overview of the four articles collected in this volume by leading Western and local scholars on the issue of music and identity in Central Asian cultures, surveying the past and present of music-making processes. The introduction also examines two phenomena in greater detail: the performer and the event as focal points of changing national identities. Taking examples from Uzbekistan and concentrating on the singer/wedding paradigm, the introduction explores the historical background and issues of change in musical and national identity over a period starting with Russian and Bolshevik rule over Central Asia and continuing up to the contemporary independent states. Keywords: Central Asia; Ethnic Identity; National Identity in Music; Singer; Wedding
Polyphonic Examples from the Music of Some Turkic Peoples
Sipos, János (2015a), Polyphonic Examples from the Music of Some Turkic Peoples, In: Richter, Pál and Tari, Lujza (eds): Multipart Music, MTA BTK Zenetudományi Intézet, Budapest, pp. 493‒505.
The folk music of the Turkic peoples is quite varied, and the relationship between their music is basically different as compared to the relationship between their languages. However, one can find a common feature: their melodic world does not favor multipart music. In some cases, however, art music affects the folk trad ition and we may discover traces of polyphony. In my paper, I will show a few examples of this phenomenon based on my 25-years Asian research. The music of the religious zikr ceremony of the Turkish Sufi Tahtaji communities is played by the dede (father) or by the zakir (music specialist). Because dedes usually serve on a larger area and are in connection with and learn from each other, the religious repertoire of the Tahtaji communities living far from each other is very similar. Here, similarly to other Turkish Sufi communities, polyphony can be observed only in the bağlama (long-necked lute) accompaniment. In the second example, I present one of my recordings from 1999. A group of Azeri women migrated from Karabakh sang in a specific polyphonic mode taking example from the Azerbaijani Mugham 'court' music. The Mugham analogy of the lament
János SIPOS, Essays on the Folksongs of Turkic People
János SIPOS, Essays on the Folksongs of Turkic People, 2021
János Sipos, Essays on the Folksongs of Turkic People, 2021, Ankara: Grafiker János Sipos is professor at the Liszt University of Music, the Hungarian Representative of the International Council of Traditional Music, senior research fellow of Institute for Musicology, and Member of the Hungarian Academy of Arts. His main research area is the comparative study of the folk music of Turkic speaking people and also exploring the Hungarian relations. His collecting work began in 1987, where Béla Bartók stopped in 1936, and since then he has collected, recorded and analyzed more than ten thousand Turkish, Azeri, Turkmen, Karachay, Kazakh, Kyrgyz, Navajo and Dakota melodies. His 18 books, 168 articles and hundreds of hours of video and audio recordings can be viewed at www.zti.hu/sipos. The articles of the Essays on the Folksongs of Turkic People give an insight into the work of Sipos. The titles of the chapters are as follows: - A Folk Music Research Series Among Turkic People (1936-2019) - About the Folksongs of some Turkic People - In the Wake of the Ethnomusicological Research of Béla Bartók and Ahmet Adnan Saygun - Dakota Folk Songs and their Inner-Asian Connection - Ancient Hungarian Musical Styles and the Folksongs of Turkic People - An Inner Mongolian Pentatonic Fifth-Shifting Style and its Relevance to Hungarian and Volga-Region Folk Music - About the First Analytic and Comparative Monograph Written on the Folk Music of the Karachay-Balkar - The volume is closed by the List of References, and the bibliography of János Sipos.