DOCSLIB.ORG

Beyond the Songs: Women Performers of Ethnic Music In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beyond the Songs: Women Performers of Ethnic Music In Beyond the Songs: Women Performers of Ethnic Music in Contemporary Istanbul Alexandra Courchesne A Thesis in The Department of Sociology and Cultural Anthropology Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Social and Cultural Anthropology) at Concordia University Montreal, Quebec, Canada November 2013 © Alexandra Courchesne 2013 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Alexandra Courchesne Entitled: Beyond the Songs: Women Performers of Ethnic Music in Contemporary Istanbul and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Social and Cultural Anthropology) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ____________________Prof. Meir Amor_____________________ Chair ___________________ Prof. Yesim Bayar________________ Examiner _____________________Prof. Sally Cole_________________ Examiner __________________Prof.Homa Hoodfar_________________ Supervisor Approved by __________________________Meir Amor_______________________ Chair of Department or Graduate Program Director ______6 December___2013 __Joanne Locke_________________ Dean of Faculty ABSTRACT Beyond the Songs: Women Performers of Ethnic Music in Contemporary Istanbul Alexandra Courchesne Music has often had a political aspect but its power has increased since the formation of the modern state. In Turkey, music has been an instrument for the nation- building project but also a tool for members of the civil society. With the release of the ban that prohibited ethnic music in the public arena in 1990, women performers of this music genre have managed to carve out their niche on the public stage as well as to gain social respectability in the process. Drawing on a three-month fieldwork in Istanbul, this thesis seeks to present the strategies and obstacles women performers of ethnic music employ to break with the image of the ‘entertainer’, to advocate for the rights of the ethnic minorities, and to re-define inter-gender relationships. This thesis is an exercise in engagement with these questions: How do women use ethnic music in order to carve out their place in the public arena while gaining and maintaining social respectability? More particularly, how were they able to do it in the peculiar constantly evolving socio- political landscape of the Ottoman Empire first and then of the Turkish Republic? What were the obstacles they faced at various stages and what strategies they employed to challenge, circumvent, overcome, co-opt or neutralize these obstacles? iii RÉSUMÉ La musique a souvent eu un aspect politique mais son pouvoir s’est décuplé depuis la formation de l’état-nation moderne. En Turquie, la musique a été instrumentalisée par les membres du gouvernement réformiste lors de la construction de l’état-nation mais elle a également servi d’outil de contestation ou de négociation pour plusieurs membres de la société civile. Depuis 1990, année durant laquelle le gouvernement turc a retiré l’interdiction officielle contre la présence de la musique ethnique dans la sphère publique, plusieurs artistes féminines à l’intérieur de ce style musical se sont taillé une place sur la scène publique et ont réussi en même temps à obtenir et maintenir leur respectabilité sociale. Se basant sur trois mois de terrain ethnographique à Istanbul, ce mémoire cherche à présenter les stratégies et obstacles que ces femmes jouant de la musique ethnique emploient afin de briser l’image de « l’artiste de variété» (entertainer), de promouvoir les droits des minorités ethniques et de redéfinir les relations entre les genres. Ce mémoire cherche à répondre aux questions suivantes : comment les femmes utilisent-elles la musique ethnique afin de se créer un espace sur la sphère publique tout en maintenant leur respectabilité ? Plus particulièrement, comment ont-elles réussi à le faire compte tenu des différents événements sociaux et politiques qui ont secoué la fin de l’Empire Ottoman ainsi que la Turquie depuis sa fondation en 1923? Quels sont les obstacles auxquels ces musiciennes ont fait face et quelles ont été les stratégies qu’elles ont utilisées pour contrer, contourner, outrepasser, s’approprier ou neutraliser ces obstacles ? iv ACKNOWLEDGEMENTS I would like, first and foremost, to thank my supervisor, Prof. Homa Hoodfar, for her constant support, her understanding, and her careful reading of the different versions of this thesis. Supervising me during this process must have required great patience. I am indebted for everything she has done for me. Many thanks also to Prof. Yeșim Bayar and Prof.Sally Cole for their availability and for providing me with incisive and instructive comments on my thesis. The interviews during my fieldwork in Istanbul in the fall of 2011 would never have taken place if it had not been for Evrim Șener, Mehmet Karabela, Rıfat and Ayfer Vardar, and Șafak Velioğlu who put me in touch with musicians, as well as Barıș Adayılmaz and Mustafa Uzuner who helped me as translators. I am also very grateful to my roommate in Istanbul, Berrin Hatacıkoğlu, for our night-long hallway conversations regarding the status of women in the different ethnic communities in Turkey and for making me feel at home in her flat. Je tiens également à remercier mes collègues et amis du Musée Pointe-à-Callière pour m’avoir supportée dans ces moments de stress et de fatigue (je pense ici plus particulièrement à Philippe Boulanger, Frédéric Parent et Michel L’Héreault), mais également pour avoir accepté de me remplacer au travail à plusieurs reprises et souvent à la dernière minute afin que je puisse terminer d’écrire mon mémoire. Merci également à Félix Larose-Chevalier pour le titre. Je suis redevable à ma responsable, Martine Poirier, pour sa compréhension et le travail qu’elle a dû effectuer pour remanier les horaires. Writing in English has been a difficult task for this native French speaker. I am extremely grateful to my friend Hasher Majoka who not only edited my grammatical v mistakes but who also helped me in phrasing and organizing my information. This thesis would never have ended if it had not passed through his hands. Merci également à mon amie Martine Gauthier pour avoir partagé avec moi ces longues heures d’études consacrées à l’écriture de nos mémoires respectifs, pour nos nombreuses discussions anthropologiques et son amitié. If I chose to work on women playing ethnic music in Turkey, it is thanks to my friends Neslihan Çoroğlu and her mother Zekiye (Zekoș) Șenol-Çoroğlu who, since 2007, have welcome me in their houses in Istanbul, Karaburun, Adapazarı and Ortakent at many times, who have considered me a member of their family and taken me to concerts and türkü bars. I owe much of my knowledge on daily life in Turkey to living with them, listing to Neslihan’s CDs from morning to evening, and accompanying them everywhere they went. I am eternally indebted for their constant friendship and affection. Neslihan’s strength, high energy, and great passion for life inspired me to work on women like her. I also thank her for participating in my fieldwork and helping me with the translations. Je tiens à remercier tout particulièrement ma mère, Hélène Hamel, pour m’avoir toujours encouragée à poursuivre mes rêves, même s’ils dérogeaient d’une vie conventionnelle, pour sa grande écoute et nos longues discussions sur le sens de la vie, la religion, et les femmes. Elle a été la première féministe de mon existence et son regard inquisiteur sur la vie m’a appris à toujours questionner ce que nous prenons pour acquis. Merci également à mon père, Pierre Courchesne, pour m’avoir transmis sa passion pour l’histoire, la géographie et la politique. Sa curiosité intellectuelle m’a amenée à constamment tourner mon regard vers l’extérieur et éventuellement à tomber amoureuse de la Turquie. Merci pareillement à Gabrielle Sabourin, pour sa fidèle amitié et son vi soutien constant. Finally, I would like to thank my boyfriend, Emre Ünlücayaklı, for translating fieldwork material into Turkish before, during and after the fieldwork and also for the transcriptions of the interviews. I also thank him for commenting on my work, for advising me, and putting me in touch with his friends when I was in Istanbul while he stayed in Montreal. Having him next to me during this process was fundamental in achieving this project. On a personal note, I finally thank him for his constant support, love and affection, for cheering me up during difficult times, and for taking of our move into a new apartment, as well as of doing all the daily tasks at home in order to give me time to study when I came back from work. vii Table of Contents Introduction ...................................................................................................................................... 1 Objectives .................................................................................................................................... 6 Historical background .................................................................................................................. 7 The Organization of the Thesis .................................................................................................. 11 Chapter 1: Theoretical Framework and Methodology and Setting ................................................ 14 The Public and Private spheres .................................................................................................
Load more

Recommended publications
  • ARTES. JOURNAL of MUSICOLOGY Vol
    “GEORGE ENESCU” NATIONAL UNIVERSITY OF ARTS IAŞI FACULTY OF PERFORMANCE, COMPOSITION AND MUSIC THEORY STUDIES RESEARCH CENTER “THE SCIENCE OF MUSIC” DOCTORAL SCHOOL – MUSIC FIELD ARTES. JOURNAL OF MUSICOLOGY vol. 23-24 ARTES 2021 RESEARCH CENTER “THE SCIENCE OF MUSIC” ARTES. JOURNAL OF MUSICOLOGY Editor-in-chief – Prof. PhD Laura Vasiliu, “George Enescu” National University of Arts, Iași, Romania Senior editor – Prof. PhD Liliana Gherman, “George Enescu” National University of Arts, Iași, Romania SCIENTIFIC COMMITTEE Prof. PhD Gheorghe Duțică, “George Enescu” National University of Arts, Iași, Romania Prof. PhD Maria Alexandru, “Aristotle” University of Thessaloniki, Greece Prof. PhD Valentina Sandu-Dediu, National University of Music Bucharest, Romania Prof. PhD Pavel Pușcaș, “Gheorghe Dima” National Music Academy, Cluj-Napoca, Romania Prof. PhD Mirjana Veselinović-Hofman, University of Arts in Belgrade, Serbia Prof. PhD Victoria Melnic, Academy of Music, Theatre and Fine Arts, Chișinău, Republic of Moldova Prof. PhD Violeta Dinescu, “Carl von Ossietzky” Universität Oldenburg, Germany Prof. PhD Nikos Maliaras, National and Kapodistrian University of Athens, Greece Lect. PhD Emmanouil Giannopoulos, “Aristotle” University of Thessaloniki, Greece EDITORS Assoc. Prof. PhD Irina Zamfira Dănilă, “George Enescu” National University of Arts, Iași, Romania Assoc. Prof. PhD Diana-Beatrice Andron, “George Enescu” National University of Arts, Iași, Romania Lect. PhD Rosina Caterina Filimon, “George Enescu” National University of Arts, Iași, Romania Assoc. Prof. PhD Gabriela Vlahopol, “George Enescu” National University of Arts, Iași, Romania Assist. Prof. PhD Mihaela-Georgiana Balan, “George Enescu” National University of Arts, Iași, Romania ISSN 2344-3871 ISSN-L 2344-3871 Translators: PhD Emanuel Vasiliu Assist. Prof. Maria Cristina Misievici DTP Ing.
    [Show full text]
  • A Dramatization of Italian Tarantism in Song
    Lyric Possession: A Dramatization of Italian Tarantism in Song Item Type text; Electronic Dissertation Authors Smith, Dori Marie Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 04:42:15 Link to Item http://hdl.handle.net/10150/560813 LYRIC POSSESSION : A DRAMATIZATION OF ITALIAN TARANTISM IN SONG by Dori Marie Smith __________________________ Copyright © Dori Marie Smith 2015 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Dori Marie Smith, titled Lyric Possession: A Dramatization of Italian Tarantism in Song and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: April 24, 2015 Kristin Dauphinais _______________________________________________________________________ Date: April 24, 2015 David Ward _______________________________________________________________________ Date: April 24, 2015 William Andrew Stuckey _______________________________________________________________________ Date: April 24. 2015 Janet Sturman Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Lesbian and Gay Music
    Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez.
    [Show full text]
  • Çamlıeaya Dair... Eski Çamlıcada Köşkler - Güzelliğe Meclûp Padişah - Sadrâzam Kellesinin Satırdan Kurtuluşu — II
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE ------------^ i--------------------------provided 10-1 by Istanbul • 1949 Sehir ———.University Repository Geçmiş zamanlarda Çamlıeaya dair... Eski Çamlıcada köşkler - Güzelliğe meclûp padişah - Sadrâzam kellesinin satırdan kurtuluşu — II. ei Mahmut ve Çamlıcada mehtap afalar mı dinçti, mideler mi kasrında, Sultan ve kocası Mehmet K sağlamdı bilmem eskiden Ali paşa uzun müddet oturmuşlar­ sayfiye edilirdi. Malûmya iyi mey­ dır. Çok kıymetli tablolar, antika ve, ağacının altında yenir. vazolar, nadide oda takımları, zen­ Çeşitli su kaynaklan, geceleri se­ gin kumaş perdelerle döşenmiş o- rin olan güzel havası ve mümbit lan Valde bağı kasrı; her gidenin : toprağı ile Çamlıca da evvelleri en gözünü kamaştırmıştır. Büyük Çam- | gözde sayfiyelerden biri idi. lıcadaki, Şekzade Yusuf İzzettin e- Karacaahmedin koyu yeşil bir çu­ fendiye ait köşklerin en büyüğü, hayı andıran selvi oymasının arka­ 2 inci Mahmudun gözdelerinden sından yükselen Çamlıca tepesi gü- «Tiryal» Hatun için yapılan köşk­ j neşin koyu kurşuni renge boyadığı tür. Hazinei hassa arazisi içinde ya­ İstanbul yakasına sakin bir eda ile pılmış olan bu köşk, sonradan 2’in­ | göz kırpar. Grupla beraber yer yer ci Abdülhâmit tarafından İzzettin e- i bakırlaşan Üsküdar evlerinin cam­ feııdiye verilmiştir. 2’inci Abdülhâ- ları arkasından Kalaımşa, Beylerbe­ midin tahta çıktığı gün, fenerlerle yine kadar kollarını açarak geri­ donatılan Çamlıca tepesi; cumaları. nen bu edalı tepeciğin çevresindeki İstanbul halkı ile dolup boşalan Nr grup halesi; akşamlan, başına bir mesire yeri olmuştur. gelincik çelengi koyarak onu selâm­ Hekimbaşı Abdülhalik Mollanın, larken. Tommkta ay kendini göste­ Sami paşanın 3’üncü Selim ricalin­ rir.... den Kâhya Reşit efendiden satın Av merakı ile şöhret bulan avcı aldığı köşk, Çamlıcanın muhteşem Sultan Mehmet Çamlıca kırlarında köşklerinden biridir.
    [Show full text]
  • Women, Gender, and Music During Wwii a Thesis
    EDINBORO UNIVERSITY OF PENNSYLVANIA PITCHING PATRIARCHY: WOMEN, GENDER, AND MUSIC DURING WWII A THESIS SUBMITTED TO THE FACULTY OF THE DEPARTMENT OF HISTORY, POLITICS, LANGUAGES, AND CULTURES FOR THE DEGREE OF MASTER OF ARTS SOCIAL SCIENCES-HISTORY BY SARAH N. GAUDIOSO EDINBORO, PENNSYLVANIA APRIL 2018 1 Pitching Patriarchy: Women, Music, and Gender During WWII by Sarah N. Gaudioso Submitted in Partial Fulfillment of the Requirements For the Master of Social Sciences in History ApprovedJjy: Chairperson, Thesis Committed Edinbqro University of Pennsylvania Committee Member Date / H Ij4 I tg Committee Member Date Formatted with the 8th Edition of Kate Turabian, A Manual for Writers of Term Papers, Theses and Dissertations. i S C ! *2— 1 Copyright © 2018 by Sarah N. Gaudioso All rights reserved ! 1 !l Contents INTRODUCTION 1 CHAPTER 1: HISTORIOGRAPHY 5 CHAPTER 2: WOMEN IN MUSIC DURING WORLD WAR II 35 CHAPTER 3: AFRICAN AMERICAN WOMEN AND MUSIC DURING THE WAR.....84 CHAPTER 4: COMPOSERS 115 CHAPTER 5: CONCLUSIONS 123 BIBLIOGRAPHY 128 Gaudioso 1 INTRODUCTION A culture’s music reveals much about its values, and music in the World War II era was no different. It served to unite both military and civilian sectors in a time of total war. Annegret Fauser explains that music, “A medium both permeable and malleable was appropriated for numerous war related tasks.”1 When one realizes this principle, it becomes important to understand how music affected individual segments of American society. By examining women’s roles in the performance, dissemination, and consumption of music, this thesis attempts to position music as a tool in perpetuating the patriarchal gender relations in America during World War II.
    [Show full text]
  • Hanedân-I Saltanat Nizamnamesi Ve Uygulanmasi Cevdet Kirpik*
    HANEDÂN-I SALTANAT NIZAMNAMESI VE UYGULANMASI CEVDET KIRPIK* Giri~~ Osmanl~~ hanedan üyelerinin sosyal hayat~n~, ya~ay~~~m ve aile huku- kuyla ilgili baz~~ meselelerini düzenleyen ilk nizamname 16 Kas~m 1913 tari- hinde ç~kar~ld~. Nizamname, hanedan azas~n~~ ilgilendiren birçok meseleyi etrafl~ca ele almaktayd~. Düzenlemede yer alan hususlar~n önemli bir k~sm~~ teamül-ü kadimden olup baz~lar~~ ise kendi devrinde ortaya ç~kan bir tak~m sorunlar~n çözümüne yönelik yeni konulard~. Yüzy~llar boyu belirli geleneklerin ~~~~~nda ya~ay~p giden Osmanl~~ ha- nedarnyla ilgili bir nizamname ç~karmay~~ gerekli k~lan sebepler nelerdi? Nizamname kimler tarafindan, niçin haz~rland~, içeri~inde neler vard~~ ve en önemlisi de nas~l uyguland~? Hanedân-~~ Saltanat ~izâs~n~n~~ Hâl ve Mevkileri ile Vazâifini Tayin Eden Nizamnâme ad~yla haz~rlanan Nizamname, padi~ah~n 16 Kas~m 1913 tarih ve 243 say~l~~ iradesiyle yürürlü~e girdi2. Nizamname, kanun mahiyetinde düzenlenmedi~inden Meclis-i Meb'ilsân ve Meclis-i Ayân'da müzakere edilmemi~, dolay~s~yla da esbâb-~~ Erciyes Üniversitesi, E~itim Fakültesi Ö~retim Üyesi. Hanedan-1 saltanat ~izlis~ndan kas~t; padi~ah, ~ehzadeler ve onlar~n k~z ve erkek çoculdar~d~r. Ni- tekim bu husus Hanedan-1 Abi Osman Umüru Hakk~nda Kararname'de padi~ah ve ~ehzadelerin hanedan sicilinde kay~ tl~~ zevceleri ile sultanlar~n k~z ve erkek çocuklar~~ ve e~leri "efrad-~~ hanedandan olmayub haned5n-1 saltanata mensup" olarak adland~r~lmaktayd~. BOA, Hanedan Defteri, No:2, s.60. Yine ~ehzade Ali Vas~b Efendi, hanedan mensuplar~~ ile dzds: aras~nda fark~~ ~u ~ekilde dile getirmekte- dir: "Haneclarum~zda erkek nesline verilen ehemmiyetin bariz i~aretlerinden biri, padi~ah veya ~eh- zade k~z~~ olan sultanlar~n çocuklar~n~ n hanedan azas~~ de~il, hanedan mensubu say~lmas~~ ve bu men- subiyetin kendi çocuklar~na intikal edememesidir." Ali Vas~b Efendi, Bir ~ehztule'nin Hdtirdt~~ Vatan ve Menfdda Gördid~lerim ve i~ittilderirn, Haz~rlayan: Osman Selaheddin Osmano~lu, ~stanbul, 2005, s.12.
    [Show full text]
  • How Was the Traditional Makam Theory Westernized for the Sake of Modernization?
    Rast Müzikoloji Dergisi, 2018, 6 (1): 1769-1787 Original research https://doi.org/10.12975/pp1769-1787 Özgün araştırma How was the traditional makam theory westernized for the sake of modernization? Okan Murat Öztürk Ankara Music and Fine Arts University, Department of Musicology, Ankara, Turkey [email protected] Abstract In this article, the transformative interventions of those who want to modernize the tradition- al makam theory in Westernization process experienced in Turkey are discussed in historical and critical context. The makam is among the most basic concepts of Turkish music as well as the Eastern music. In order to analyze the issue correctly in conceptual framework, here, two basic ‘music theory approaches' have been distinguished in terms of the musical elements they are based on: (i.) ‘scale-oriented’ and, (ii.) ‘melody-oriented’. The first typically represents the conception of Western harmonic tonality, while the second also represents the traditional Turkish makam conception before the Westernization period. This period is dealt with in three phases: (i.) the traditional makam concept before the ‘modernization’, (ii.) transformative interventions in the modernization phase, (iii.) recent new and critical approaches. As makam theory was used once in the history of Turkey, to convey a traditional heritage, it had a peculi- ar way of practice and education in its own cultural frame. It is determined that three different theoretical models based on mathematics, philosophy or composition had been used to explain the makams. In the 19th century, Turkish modernization was resulted in a stage in which a desire to ‘resemble to the West’ began to emerge.
    [Show full text]
  • A Brief History of Aranjman Translations: the Earliest Examples of Turkish Pop Music
    VOLUME 5, ISSUE 1 June 2019 79 eISSN: 2444-1961 https://doi.org/10.14201/clina201951 CLINA Vol. 5-1, 79-93 June 2019 eISSN: 2444-1961 DOI: https://doi.org/10.14201/clina2019517993 A Brief History of Aranjman Translations: the Earliest Examples of Turkish Pop Music Una breve historia de las traducciones aranjman: los primeros ejemplos de la música pop turca Alaz PESEN Boğaziçi University Recibido febrero-2019. Revisado: marzo-2019. Aceptado: mayo-2019. Abstract: Aranjman in Turkish is a loanword borrowed from French. When used in the context of music, it refers to the 1960s, a formative stage in introducing foreign pop music with Turkish lyrics into the Turkish cultural repertoire. The present study views the aranjman era, which has so far constituted a blank space, from the perspective of translation studies. It first sketches out a theoretical framework fusing Even-Zohar’s «invention», «import» and «cultural repertoire» with André Lefevere’s notions of «rewritings» and «patrons». Briefly reviewing the latest approaches in song translation studies, the study proposes subcategories to the term «rewriting» to refer to instrumentation, voice and lyrics levels as «reperforming», «resinging» and «relyricizing» respectively, which altogether enable the song to be rewritten in another language. These acts cannot be achieved in the absence of music producers, who are the «patrons» initiating the recording or «rerecording» of a song in any given music industry. From a general perspective, it was the collaboration of these patrons and rewriters that introduced first the inventions and then the imports into the Turkish pop music cultural repertoire. CLINA Alaz PESEN vol.
    [Show full text]
  • Novus Ortus: the Awakening of Laz Language in Turkey”
    DOI: 10.7816/idil-04-16-08 idil, 2015, Cilt 4, Sayı 16, Volume 4, Issue 16 NOVUS ORTUS: THE AWAKENING OF LAZ LANGUAGE IN TURKEY Nurdan KAVAKLI 1 ABSTRACT Laz (South Caucasian) language, which is spoken primarily on the southeastern coast of the Black Sea in Turkey, is being threatened by language endangerment. Having no official status, Laz language is considered to be an ethnic minority language in Turkey. All Laz people residing in Turkey are bilingual with the official language in the country, Turkish, and use Laz most frequently in interfamilial conversations. In this article, Laz language is removed from the dusty pages of Turkish history as a response to the threat of language attrition in the world. Accordingly, language endangerment is viewed in terms of a sociolinguistic phenomenon within the boundaries of both language-internal and -external factors. Laz language revitalization acts have also been scrutinized. Having a dekko at the history of modern Turkey will enlighten whether those revitalization acts and/or movements can offer a novus ortus (new birth) for the current situation of Laz language. Keywords: Laz language, endangered languages, minority languages, language revitalization Kavaklı, Nurdan. "Novus Ortus: The Awakening of Laz Language in Turkey”. idil 4.16 (2015): 133-146. Kavaklı, N. (2015). Novus Ortus: The Awakening of Laz Language in Turkey. idil, 4 (16), s.133-146. 1 Arş.Gör., Hacettepe Üniversitesi, Eğitim Fakültesi, İngilizce Öğretmenliği Bölümü, Ankara, nurdankavakli(at)gmail.com 133 www.idildergisi.com Kavaklı, Nurdan. "Novus Ortus: The Awakening of Laz Language in Turkey". idil 4.16 (2015): 133-146.
    [Show full text]
  • Teaching English Through Body Movement a Pa
    AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection
    [Show full text]
  • Partitive Article
    Book Disentangling bare nouns and nominals introduced by a partitive article IHSANE, Tabea (Ed.) Abstract The volume Disentangling Bare Nouns and Nominals Introduced by a Partitive Article, edited by Tabea Ihsane, focuses on different aspects of the distribution, semantics, and internal structure of nominal constituents with a “partitive article” in its indefinite interpretation and of potentially corresponding bare nouns. It further deals with diachronic issues, such as grammaticalization and evolution in the use of “partitive articles”. The outcome is a snapshot of current research into “partitive articles” and the way they relate to bare nouns, in a cross-linguistic perspective and on new data: the research covers noteworthy data (fieldwork data and corpora) from Standard languages - like French and Italian, but also German - to dialectal and regional varieties, including endangered ones like Francoprovençal. Reference IHSANE, Tabea (Ed.). Disentangling bare nouns and nominals introduced by a partitive article. Leiden ; Boston : Brill, 2020 DOI : 10.1163/9789004437500 Available at: http://archive-ouverte.unige.ch/unige:145202 Disclaimer: layout of this document may differ from the published version. 1 / 1 Disentangling Bare Nouns and Nominals Introduced by a Partitive Article - 978-90-04-43750-0 Downloaded from PubFactory at 10/29/2020 05:18:23PM via Bibliotheque de Geneve, Bibliotheque de Geneve, University of Geneva and Universite de Geneve Syntax & Semantics Series Editor Keir Moulton (University of Toronto, Canada) Editorial Board Judith Aissen (University of California, Santa Cruz) – Peter Culicover (The Ohio State University) – Elisabet Engdahl (University of Gothenburg) – Janet Fodor (City University of New York) – Erhard Hinrichs (University of Tubingen) – Paul M.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]