DOCSLIB.ORG

Efrén López 2 3 Içindekiler Baslarken

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Efrén López 2 3 Içindekiler Baslarken SAYI: 1 ŞUBAT 2017 Selim Sesler’in unutulmazlığı üzerine Hacer Foggo Kıbrıs’tan yükselen Neofolk Monsieur Doumani Bir bestecinin dinleyiciyi çıkardığı yolculuk… Evanthia Reboutsika “Hayal Avcısı İcracı ve Bestekâr Tanburi Cemil Bey’e Saygıyla” Cenk Güray Bir Modern Zaman Müzik Seyyahı: Efrén López 2 3 içindekiler baslarken Başlarken… Before starting… evanthia reboutsika Merhaba, Hi, Evanthia Reboutsika, “Bir Tutam Baharat” “Babam ve Oğlum” ve 8 nice filmlere bestelediği müziklerle tanınan Yunan besteci ve keman 4 ‘’Konservatuvarlarınızı dağlara kurun.’’ ‘’ Topraktan kopuk We have started our voyage two years ago as the Music Vil- sanatçısı, Türkiye’de 2005 yılında gösterime giren, Çağan Irmak her müzik, ölmeye mahkumdur.’’ diyerek yollara düştük lage team in Fethiye referring to the wisdom of these words: yönetmenliğindeki “Babam ve Oğlum” için yaptığı müziklerle, 2006 bundan iki yıl evvel Müzik Köyü ekibi olarak Fethiye’ de. “Build your conservatories in the mountains.” “Every music yılı “Dünya Film Müzikleri ödülü”ne aday gösterilmiş, “Yılın Keşfi” detached from soil is doomed to die.” özel ödülünü kazanmıştır. Yol bu, elbette zorlukları olacak, olmalı ki biz de yolculuğumuzun pek çok yerinde bu zorluklardan payımızı It’s a voyage, so we knew that we would experience hardships. aldık, alıyoruz. Ancak Anadolu başta olmak üzere dünyanın But these hardships taught us a lot, and are still teaching. All dört bir yanında tüm zorluklara rağmen sazını yaşatan the masters principally in Anatolia and all around the globe sinan cem eroğlu ve bizlere kadar ulaştıran, ‘’piyasa’’laşmamış ustalar bize who no matter what kept their art alive and passed it down “Karawane” projesi dahilinde 2010 Avrupa Kültür Başkentleri çoğu zaman ilham kaynağı oldu, pusula oldu, güç verdi. Biz have been our main source of inspiration, gave us strength 18İstanbul, Ruhr ve Pécs’te konserler verdi. İ.T.Ü. Türk Musikisi Müzik Köyü ekibi olarak bu pusulayı takip ettik ve etmeye and led us in our route. As the Music Village team, we are Devlet Konservatuarı ve İsveç Musik Gavléborg’un İstanbul devam ediyoruz. following this route and we will move on. ve İsveç’te ortak düzenlediği “Halk Müziği Pedagojisi” atölye çalışmasında eğitmen olarak görev yaptı. Hollanda’da bulunan İşte bu pusula doğrultusunda uzun süredir düşündüğümüz And here we are with the Müzik Village Magazine on which Codarts World Music Academy’de dersler verdi. ‘’ Bir dergimiz olmalı, bu dergi Afganistan’ dan Türkiye’ we have been working wishing that we must prepare a media ye, İspanya’ dan, Mısır’a dünyanın dört bir yanındaki kapı tool which will give hope to all our neighbors from Afghani- komşularımıza bir umut vermeli’’ nin karşılığı olan Müzik stan to Turkey, from Spain to Egypt. Köyü Dergisi ile karşınızdayız. We are presenting our bilingual magazine (both in Turkish monsieur doumani 56 Adeta bir açık hava konservatuvarına benzeyen and English) in digital environment to music lovers as a con- Kıbrıslı grup Monsieur Doumani, 2011’den bu yana Kıbrıs’ın Anadolu’nun ve yaşlı yerküremizin sahip olduğu müzik tinuation of our adventure in pursuit of Anatolian and world köklerindeki müziği kendi yorumuyla dünyaya dinletiyor. Kıbrıs 42 geleneklerinin, müzik kültürünün peşinde sürdürmeye music traditions, of the places which are in fact like an open müziğini farklı kılan her şeyi, grubun gelişimini ve değişimini, Kıbrıs’ın tarihini ve bugününü anlatan şarkıları konuştuk. çalıştığımız serüvenin yeni bir mecrası olarak ‘’Müzik Köyü air music school. Dergi’’yi elektronik ortamda çıkarıyor ve iki dilde; Türkçe- What will the magazine include that will be published every İngilizce olarak siz müzikseverlerin ilgisine sunuyoruz. two months? İki ayda bir, elektronik bir dergi olarak karşınızda olacak In the Music Village Magazine, you will find music traditions Müzik Köyü Dergisi’nde neler olacak peki? cenk güray that can survive besides industrial samples often mentioned Tanburi Cemil Bey: Yazılı Bilgiden Sözlü Kültüre Anado- Ana akım medyada sıklıkla görülen endüstriyel örneklerin in main stream media, the unusual music synthesis that are 5o lu’ya Ait Bir Hafıza dışında da var olan müzik geleneklerini, bu gelenekler a result of a quest that we can name as new structures built üzerine inşa olarak nitelendirebileceğimiz bir arayışın bir upon old ones, musicians around the globe that are contin- sonucu ortaya çıkan sıra dışı müzikal sentezleri, dünyanın uing their quest and voyage no matter how the conditions dört bir yanında koşullar ne olursa olsun arayışını ve are. On the other hand, we will introduce music events and serüvenini devam ettiren müzisyenleri Müzik Köyü festivals that are organized despite negative conditions and Dergisi’nde bulabileceksiniz. Diğer yandan şartlar ne handicaps. Within this frame, we will present albums from olursa olsun Türkiye’de ve dünyada devam eden müzik past and today. festivallerini ve müziğe dair organizasyonları, üretimleri de May the limits of the music be the limits of your imagination. sayfalarımıza taşıyarak sizlere tanıtacağız. Bu kapsamda geçmişten ve günümüzden albümleri tanıtarak ilginize sunacağız. Müziğin sınırlarının hayal gücünüzün sınırları olması dileğiyle... Sayı: 1 Şubat 2017 Aytaç Gökdağ Sorumlu Yazı İşleri Müdürü Aytaç Gökdağ Editörler Aytaç Gökdağ - Damla Ferahi Tasarım/Görsel Yönetmen Şeyma Burkan Çeviriler Damla Ferahi Web Adresleri www.facebook.com/muzikkoyu/ - twitter.com/muzikkoyu - instagram.com/muzikkoyu/ 4 5 Müzik Köyü Nedir? üzik Köyü, temel felsefesini müziğin doğa ile olan bağlarından alan ve gerçek müziğin doğaya en yakın olunarak üretilebileceğine inanan bir düşüncenin ürünüdür. Bu düşünceyle, yerel ve profes- yonel müzik ustalarının müzikseverlerle usta-çırak ilişkisi bağlamında dersler yapması, kadim Ana- dolu M sazlarının ve geleneklerinin unutulmayıp yerel ustalardan genç nesillere aktarılması, çeşitli müzikal disiplin ve geleneklerin bir arada ses bulup birbirinden güç kazandığı kolektif bir müzikal yaşamı gerçekleştirmek için kurulmuştur. Müzik Köyü, Bela Bartok’un “Topraktan kopuk olan her müzik ölmeye mahkumdur.” sözünü benimseyen ve bütün müzikseverleri toprağa temas etmeye çağıran bir projedir. Bu amaçla Anadolu Kültürleri Araştırma Topluluğu tarafından Türkiye’ nin ilk Müzik Köyü, 25-30 Ağustos 2015 tarihlerinde Muğla’nın Fethiye ilçesi sınırları içerisinde bulunan Yanıklar Köyü’nde kuruldu. Müzik Köyü Fethiye 2015’de genel tema Anadolu Müzik Kültürleri ve Teke Yöresi Müziği üzerineydi. 20 yerel ve profesyonel müzisyen, çalgı ustası ve akademisyenin atölye, söyleşi, dinleti ve usta-çırak dersleri gerçekleştirdiği etkinliklerin Türkiye’den ve Avusturya, İsrail ve İngiltere gibi ülkelerden 60’ın üzerinde katılımcısı oldu. 6 7 Müzik Köyü, Yanıklar Köyü’nde projenin ruhuna son de- rece uygun kerpiçten yapılmış bir işletmenin kiralanmasıyla gerçekleşti. Katılımcılar bu işletmeye ait apartlarda, tam pansiyon şeklinde konakladılar. Müzik Köyü’nde dinletiler, konserler, atölye çalışmaları, usta-çırak dersleri, söyleşiler ve belgesel film gösterimle- ri yapıldı. Atölye çalışmaları ve dinletiler köy içerisindeki farklı doğal mekanlarda, kimi zaman bir dere kenarında kimi zaman ise örneğin bölgenin en yüksek dağlarından biri olan Babadağ zirvesinde gerçekleştirildi. Hem profesyonel hem de yerel müzisyenler tarafından gerçekleştirilen atöl- ye ve dinletiler ile katılımcılar, çalgı ve müzikal gelenekler konusunda çok farklı perspektiflerden bilgi sahibi oldular. Sadece katılımcılar değil, yerel ve profesyonel tüm müzis- yenler de müzik üzerine sürekli bir bilgi alışverişi içerisinde bulundular. Müziğin salt notadan ibaret olmadığını savunan Müzik Köyü Ekibi olarak bizler, aynı zamanda müziğin sınırsızlı- ğına inanmaktayız. İnsanları ayrıştıran, ötekileştiren, bir- birini anlamaktan uzak hale getiren tüm koşullara karşın, Müzik Köyü ile farklı kültürlerin, farklı müzik kültürlerinin, farklı geleneklerin, farklı müzik türlerini bir araya getirerek bu ayrıştırıcı anlayışa karşı müzik aracılığıyla hem güçlü bir mesaj vermiş olmayı hem de bu anlayışla yepyeni müzikal üretimlere zemin olmayı hedeflemekteyiz. 8 9 Evanthia Reboutsika Evanthia Reboutsika, “Bir Tutam Baharat” “Babam ve Oğlum” ve nice filmlere bestelediği müziklerle tanınan Yunan besteci ve keman sanatçısı, Türkiye’de 2005 yılında gösterime giren, Çağan Irmak yönetmenliğindeki “Ba- bam ve Oğlum” için yaptığı müziklerle, 2006 yılı “Dünya Film Müzikleri ödülü”ne aday gösterilmiş, “Yılın Keşfi” özel ödülünü kazanmıştır. üzik kariyeriniz nasıl başladı? How did your musical career start? Babam “Rex” isimli sinemanın sahibiydi, ben My father was the owner of a cinema named “Rex” and I al- Mde her akşam gösterilen filmlerin müziklerine ways enjoyed listening to the soundtracks of the films shown hayranlık duyardım. 6 yaşıma geldiğimde Patras Konserva- every night. At the age of six I started studying violin at the tuarı’nda keman öğrenmeye başladım. Sinemadaki o harika Conservatory of Patras. The experiences I had hearing those müzikleri dinlemeye ek olarak kız kardeşlerim ve abimle kur- wonderful sounds inside the movie theater but also the quar- duğumuz quartet ile olan deneyimlerim, hayatım için kişisel tet we made along with my brother and sisters giving concerts, bir ihtiyaç olarak besteler yapmaya başlamama önayak oldu. made me start composing as a personal need for life. Genellikle film müziklerinizle tanınıyorsunuz. Film You are recognized mostly by the soundtracks. How did müzikleri bestelemeye nasıl başladınız? you start being interested in composing soundtracks? Kendimi bildim
Load more

Recommended publications
  • PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music
    PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music Department 3 Oxford Street Cambridge, Massachusetts 02138 617.999.6364 [email protected] EDUCATION 2017 PhD, Music Department (Ethnomusicology), Harvard University Dissertation: “Echoes of the Great Catastrophe: Re-Sounding Anatolian Greekness in Diaspora” Advisors: Kay Shelemay and Richard Wolf 2012 M.A., Department of Musicology and Ethnomusicology (Ethnomusicology), Boston University 2008 B.A. (with Highest Distinction), Classics and Modern Greek Studies, Hellenic College PROFESSIONAL APPOINTMENTS 2019 Florida State University, Assistant Professor of Ethnomusicology 2019 Milman Parry Collection of Oral Literature, Harvard University Associate for the James A. Notopoulos Collection 2019 (Summer) Paraíba State University, João Pessoa, Brazil Visiting Assistant Professor of Ethnomusicology (via Fulbright U.S. Scholar Award) 2019 (Spring) Harvard University, Lecturer in Music 2018-2019 Massachusetts Institute of Technology, Lecturer in Music 2018 Milman Parry Collection of Oral Literature, Harvard University Milman Parry Collection Fellow 2018 Managing Editor, Oral Tradition 2017 Milman Parry Collection of Oral Literature, Harvard University James A. Notopoulos Fellow League, 2 2017 Harvard University, Departmental Teaching Fellow in Music LANGUAGES Fluent: English, Greek, Portuguese Reading proficiency: Spanish, French, Italian, Ancient Greek, Latin, Turkish, Irish Gaelic Learning: Yoruba, Tupi-Guarani HONORS AND AWARDS 2018 Traditional Artist Fellowship, Massachusetts Cultural Council 2016 Professor of the Year Award, Hellenic College 2015 Harvard University Derek Bok Center for Teaching and Learning Certificate of Distinction in Teaching for “Introduction to Tonal Music I” 2015 Victor Papacosma Best Graduate Student Essay Prize, Modern Greek Studies Association, for “The Poetics of Meráki: Dialogue and Speech Genre in Kalymnian Song” 2015 James T.
    [Show full text]
  • Ijtase V1i1.Pdf
    INTERNATIONAL JOURNAL OF NEW TRENDS IN ARTS, SPORTS & SCIENCE EDUCATION JANUARY 2012 Volume 1 - Issue 1 Prof. Dr. Teoman Kesercioğlu EditorEditor----inininin----ChiefChief Prof. Dr. Salih Çepni Prof. Dr. Bedri Karayağmurlar Prof. Dr. Rana Varol Assoc. Prof. Dr. Oğuz Serin Editor Assoc. Prof. Dr. Fatoş Silman Assoc. Prof. Dr. Nergüz Bulut Serin Ms. Umut Tekgüç Associate Editor Editor in Cheif PhD. Teoman Kesercioğlu (Dokuz Eylül University, Turkey) Editor PhD. Bedri Karayağmurlar (Dokuz Eylül University, Turkey) PhD. Oğuz Serin (Cyprus International University, North Cyprus) PhD. Rana Varol (Ege University, Turkey) PhD. Salih Çepni (Karadeniz Teknik University, Turkey) Associate Editor PhD. Fatoş Silman (Cyprus International University, North Cyprus) PhD. Nergüz Bulut Serin (Cyprus International University, North Cyprus) Ms. Umut Tekgüç (Cyprus International University, North Cyprus) Linguistic Editor PhD. İzzettin Kök (İzmir University, Turkey) PhD. Mehmet Ali Yavuz (Cyprus International University, North Cyprus) PhD. Nazife Aydınoğlu (İzmir University, Turkey) PhD. Uğur Altunay (Dokuz Eylül University, Turkey) Editorial Board PhD. Abdulkadir Yıldız (Kilis 7 Aralık University, Turkey) PhD. Ahmet Adalıer (Cyprus International University, North Cyprus) PhD. Ahmet Pehlivan (Cyprus International University, North Cyprus) PhD. Alev Önder (Marmara University, Turkey) PhD. Ali Doğan Bozdağ (Adnan Menderes University, Turkey) PhD. Alim Kaya (İnönü University, Turkey) PhD. Andreas Papapavlou (Cyprus University, South Cyprus) PhD. Antoinette J. Muntjewerff (Amsterdam University, Holland) PhD. Asuman Seda Saracaloğlu (Adnan Menderes University, Turkey) PhD. Aytekin İşman (Sakarya University) PhD. Banu Yücel Toy (Gazi University, Turkey) PhD. Baştürk Kaya (Selcuk University, Turkey) PhD. Bedri Karayağmurlar (Dokuz Eylül University, Turkey) PhD. Behbood Mohammadzadeh (Cyprus International University, North Cyprus) PhD. Benan Çokokumuş (Ondokuz Mayıs University, Turkey) PhD.
    [Show full text]
  • Christians and Pagans in Roman Nea Paphos: Contextualizing the ‘House of Aion’ Mosaic
    UCLA UCLA Historical Journal Title Christians and Pagans in Roman Nea Paphos: Contextualizing the ‘House of Aion’ Mosaic Permalink https://escholarship.org/uc/item/4hb1v94d Journal UCLA Historical Journal, 29(1) ISSN 0276-864X Author Ladouceur, John Publication Date 2018 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Christians and Pagans in Roman Nea Paphos: Contextualizing the ‘House of Aion’ Mosaic John Ladouceur Notre Dame University “Rather than retreats from public life, however, these residences were the forum made private.” —Peter Brown, on the late Roman villa1 Since its chance discovery in 1983 at the site of ancient Nea Paphos, the “House of Aion” floor mosaic has both fascinated and perplexed scholars. Located in the dining room (triclinium) of a wealthy Roman villa, the pavement, which contains five remarkably preserved panels depicting famous scenes from Greco-Roman mythology, is simply stunning in its artistic quality and scope. Constructed during the fourth century CE, the floor is a reflection of the considerable pros- perity of late Roman Cyprus and a window into the private world of a confident Mediterranean elite.2 Yet if the magnificence of the mosaic program has been conceded by all, its interpretation has proven more controversial. Although the scenes themselves are easily identifiable, being explicitly labeled by the artist, their meaning has been vigorously debated.3 Indeed, several prominent scholars, including the head exca- vator of the villa, W. A. Daszewski, have noticed an unsettling pattern in the layout of the panels.4 When read as part of a continuous sequence, the thematic content of these pagan scenes seems to mirror, in exact order, key scenes from the life of Jesus as depicted in the canonical Christian Gospels.
    [Show full text]
  • DOCTORAL THESIS the Development of Musical
    DOCTORAL THESIS The development of musical preferences in Greek Cypriot students Rousha, Yianna Award date: 2014 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 The development of musical preferences in Greek Cypriot students by Yianna Rousha A thesis submitted in partial fulfilment of the requirement for the degree of PhD School of Education University of Surrey 2013 To my godfather CONTENTS List of tables vii List of figures x Acknowledgements xii PART I: Review of the literature Chapter 1: Greek Cypriot folk music 1 1.1 Introduction 1 1.2 Folk music: concept and definition 3 1.3 Greek Cypriot folk music 17 1.3.1 Cyprus: a brief observation 17 1.3.2 Overview on ethnomusicological research in Cyprus 19 1.3.3 Greek Cypriot folk collectors: Kallinikos 24 1.3.4 An overview
    [Show full text]
  • Charles University of Prague Pedagogical Faculty Department of Music Education Cypriot Folk Music in Historical Context Bachelor
    CHARLES UNIVERSITY OF PRAGUE PEDAGOGICAL FACULTY DEPARTMENT OF MUSIC EDUCATION CYPRIOT FOLK MUSIC IN HISTORICAL CONTEXT BACHELOR THESIS Michaelidou Joanna Music Education – Choir Conducting Supervisor : PhDr. Olga Kittnarová 2010/2011 Prague 1 KARLOVA UNIVERZITA V PRAZE PEDAGOGICKÁ FAKULTA KATEDRA HUDEBNÍ VÝCHOVY KYPERSKÁ LIDOVÁ HUDBA V HISTORICKÉM KONTEXTU BAKALÁŘSKÁ PRÁCE MICHAELIDOU JOANNA Hudební výchová – sbormistrovství Vedoucí práce: PhDr Olga Kittnarová 2010/2011 Praha 2 DECLARATION I confirm that this is my own work and the use of all materials from other sources has been properly and fully acknowledged. I agree with storing my work in the library of Faculty of Education, Charles University in order to be available for educational purpose. Prague Michaelidou Joanna 3 Contents Introduction ..............………….………….………….………….……….…………p.4 1. History of Cyprus …………………………………………………………………..p.5 1.1 Period from 7000 to 58 B.C….……………………………………………p.5 1.2 Roman Period from 58 B.C to 395 A.C……………………………….p.6 1.3 Byzantine Era from 395 to 1191 A.C………………………………….p.6 1.4 French and Venetian Period from 1191 to 1571 A.C………….p.6 1.5 Turkish Occupation from 1571 to 1878 A.C……………………….p.7 1.6 British Occupation from 1878 to 1960 A.C………………………..p.7 1.7 Formation of the Independent Republic of Cyprus in 1960.p.8 2. Music in Cyprus………………………………….…………………………………..p.9 3. The Musical Instruments………………………………………………………..p.13 4. Rembetiko………………………………………………………………………………p.16 5. A specific Musical Customs held at Cyprus………………………………p.18 5.1 Christmas, New Year, Epiphany and Easter Songs……………..p.18 5.2 Family songs concerning birth, weeding and funeral………….p.20 6.
    [Show full text]
  • A Machine Learning Approach for Clustering Western and Non-Western Folk Music Using Low-Level and Mid-Level Features
    A machine learning approach for clustering western and non-western folk music using low-level and mid-level features Neocleous Andreas1, Panteli Maria1, Rafaela Ioannou1, Nicolai Petkov2, Christos N. Schizas1 1University of Cyprus, Nicosia, Cyprus [email protected], [email protected], [email protected], [email protected] 2University of Groningen, Groningen, The Netherlands [email protected] Abstract. This work describes an unsupervised method for clustering folk music from four non-European eastern countries, western music and folk music of Cyprus. The folk music of Cyprus is consisted by Greek- Cypriot folk music and Turkish-Cypriot folk music. We used low-level and mid-level features for our investigations and we applied two unsupervised methods, the so-called k- means and the self organizing maps for creating cluster maps. From the results we observed that the Greek-Cypriot songs, the Turkish Cypriot songs and the Turkish makams are being clustered from the system in different clusters. Arabic and music from Iran are clustered in the same cluster and music from Syria is clustered together with music of Turkey. Western music is clustered in to two different clusters. Keywords. Computational ethnomusicology, signal processing, timbre, tonality 1 INTRODUCTION The aim of this work is to explore timbre and tonal similarities between folk music of Cyprus, western music and non-western music from, especially, East Mediterranean countries, using a computational approach. Models with K-means and self organizing maps (SOM) were created for clusters 1,2,..,10. in order to inspect the robustness of the results. We used the elbow method [5] for the identification of the optimal number of clusters for the particular problem.
    [Show full text]
  • Greek Cypriot Wedding Music and Customs: Revival and Identity
    Greek Cypriot Wedding Music and Customs: Revival and Identity Submitted by: EFI IOANNIDOU Supervisors: DR. ANDREW KILLICK, DR. SIMON KEEGAN-PHIPPS THE UNIVERSITY OF SHEFFIELD PhD in Music 21st March 2017 2 ABSTRACT In many cultures, weddings are the most important event in people’s lives. Greek Cypriots use weddings as a means of expressing their identity and linking themselves to their roots, with the conscious aim of preservation of their musical tradition and customs. As a result, weddings are especially important in their musical culture because of the threats to their identity posed by the island’s long history of foreign rule and colonisation. However, an upheaval has occurred in the folk music and customs of Greek Cypriot wedding ceremonies over the last ten years, creating an urgent need for a study of these customs in relation to social, historical and cultural developments in Cyprus. This study has revealed a movement towards music revival that links contemporary practice with the ‘living memory’ of the mid-twentieth century. The thesis is structured in two parts, progressing from the directly observable wedding practices of contemporary Greek Cypriots to the remembered and reconstructed forms of the Greek Cypriot wedding that is now regarded as ‘traditional’. Part One analyses contemporary wedding ceremonies and the choices that newlyweds make in the customs and music of their weddings. Part Two attempts to reconstruct in detail the music and customs of Greek Cypriot wedding ceremonies of the mid-twentieth century from the testimonies of veteran folk musicians and from documentary sources. Besides documenting a tradition that is little known and fast transforming, the study contributes to current discussions in ethnomusicology on themes such as ‘music revivals’ and ‘tradition and identity’.
    [Show full text]
  • Monsieur Doumani and Reinventing Cypriot Traditional Music
    ‘Our Land is the Whole World’: Monsieur Doumani and Reinventing Cypriot Traditional Music Nicoletta Demetriou Wolfson College, University of Oxford [email protected] The lights went out. A projector began showing old photos of the Cypriot countryside, modified with bright, sometimes neon, colours. A trombone began playing at the back of the room, only to be joined seconds later by a guitar and a tzouras, a plucked string instrument, like a smaller version of a bouzouki. The trio – with the somewhat cryptic name ‘Monsieur Doumani’ – began walking through the crowd, the tables and chairs, towards the stage, still playing, and with the slides and lights still flashing in the direction they were heading. The three men who made up the group, all of them in their early to mid-thirties, funkily dressed – one in a chequered shirt and cap, the second with bright red suspenders, the third one sporting a turban – took their places on stage. They were playing Cypriot traditional songs on instruments that were new for that music, with new arrangements and harmonies, and modified lyrics. ‘Don’t think this is any old kind of traditional music’, the owner of the venue had earlier informed me as he was showing me to my seat. ‘This is Cypriot music all jazzed up’. With this hard-to-define piece of information – a warning? a promise? a threat? – I settled into my seat, behind small tables where other attendees were already enjoying their beer or wine, waiting for the concert to begin. As I was soon to discover, in addition to variations on older songs, Monsieur Doumani were playing new compositions with lyrics that reflected life in present-day Cyprus; one of them, for instance, was about the current financial crisis.
    [Show full text]
  • Curriculum Vitae Yiannis Papadakis Department of Social and Political
    Curriculum Vitae Yiannis Papadakis Department of Social and Political Sciences University of Cyprus P.O.BOX 20537 1678 Nicosia, Cyprus Tel: + 357 22894569 Fax: + 357 22894559 Email: [email protected] UNIVERSITY EDUCATION 1983-1986: B.A. Economics, University of Cambridge 1986-1988: B.A. Philosophy, University of California, Santa Cruz 1989-1993: Ph.D. Social Anthropology, University of Cambridge ACADEMIC POSITIONS 2014: Professor, Department of Social and Political Sciences, University of Cyprus. 2006- 2014: Associate Professor, Department of Social and Political Sciences, University of Cyprus. 2005-2006: Project Leader (History Education), International Peace Research Institute of Oslo (PRIO, Cyprus Centre) 1999 - 2006: Assistant Professor, Department of Social and Political Sciences, University of Cyprus 1996 – 1999: Lecturer, Department of Social and Political Sciences, University of Cyprus 1993 - 1996: Junior Research Fellow at Churchill College, Cambridge University RESEARCH INTERESTS • Nationalism, Ethnic Conflict • Social Memory, Politics/Representations of the Past • History Education • Borders • Film • Migration • Social Democracy 1 RESEARCH GRANTS/ RESEARCH PROJECT SUPERVISION 2014. Project Leader for ‘The Role of Religion in the Integration of Migrants in Cyprus’. Funding Agency: EU Solidarity Funds and Ministry of Interior (Rep. of Cyprus). Principal Researcher: Thodoris Kouros. Allocated budget 57,000 euros. 2005 – 2006 Project Leader for ‘History Education in Cyprus’, International Peace Research Institute of Oslo (PRIO, Cyprus Centre) 2004 – 2007: PEACE-COM – Peace Processes in Community Conflicts of Europe (EU 6th Framework, Priority 7, Research Area 6), Consortium. Project leader for Cyprus case study. Allocated budget 25, 416 euros. 2017-2020: Supervisor of Dr Evgenia Mesaritou’s research project TAMA (on religious pilgrimage to Ap.
    [Show full text]
  • Just for Kids!
    -DQXDU\ Northern FREE Edition )RU.LGV7R(QMR\ Happy New Year! We Welcome You To Check Out Our Website www.kidsworldnews.org $3XEOLFDWLRQ7KDW·V Just For Kids! Kids’ World News www.kidsworldnews.org Volume 9, Issue 5, January 2016 Dr. Sandra L. Hanson Dr. C. Patrick Gray We Love Kids! • Dine In • Carry Out To All Of Our Sponsors Who Are • Deliver Thanks! Helping Us To Provide Great 989-539-5600 Information To Kids And Parents 642 N. First Street, Harrison Last Life Games, LLC 1399 N. McEwan Hi Kids! Clare It’s A Great Day At 989-424-5340 Kids’ World News! +DSS\1HZ<HDU-DQXDU\LVWKH¿UVWPRQWKRIWKH\HDUZKHQZHVD\JRRGE\HWR Cottage Decor, Gifts & Candles Have you noticed the leaves changing colors? It’s a beautiful time in Michigan when this happens. The DQGKHOORWRWKHQHZ\HDURI$QHZ\HDUDOZD\VKROGVWKHSURPLVHRIJRRG 989-539-3551 • 234 E. Pine, Harrison weather is getting colder and soon winter will be upon us. Fall brings about some great moments. Events www.hearthofthehome.com like football, Trick or Treating,things to bonfires come. and Plus, marshmallows it gives us a are chance favorites. to do new things. October kicks off Kids’ World News 9th Annual Coloring Contest! The official coloring page entry is on page 3 of this paper. All YOU have to do is color the picture and send it directly to us or our delivery drivers will pick Furniture 'RQ¶WIRUJHWWREXQGOHXSZDUPDQGSOD\LQWKHVQRZWKLVPRQWK+DYH\RXHYHU Appliances them up at your school office when they deliver the November edition! See the official rules below. Be sure Carpet to enter yourPDGHVQRZDQJHOV"<RXVWDUWE\O\LQJGRZQRQ\RXUEDFNLQVRPH picture! IUHVKVQRZZLWK TV’s \RXUDUPVE\\RXUVLGHDQGOHJVVWUDLJKWWRJHWKHU:LWK\RXUDThe Staff of Kids’ World News UPVDQGOHJVÀDWWRWKH 1401 N.N McEwanME SStreet, ClareCl Michigan (989) 386-2351 • www.woodshousehold.com JURXQGPRYHWKHPXSDQGGRZQDIHZWLPHVOLNH\RX¶UHWU\LQJWRKids’ World News 9th Annual Coloring Contest PDNHDQ³;´Rules The coloring contest rules are as follows: Enter the contest by coloring the picture provided on page 3.
    [Show full text]
  • Medieval Music©[
    Paul Halsall Listening to Medieval Music©[ Author: Paul Halsall Title: Listening to Medieval Music Date: 1999: last revised 01/18/2000] _______________________________________________________________ In the summer of 1999, I made a concerted effort to get a better grasp of medieval music -- better that is, than that acquired by listening to the odd recording here and there. In this document, I outline the general development of music in proto-Western and Western cultures from the time of the earliest information until the beginning of the tonal era, around 1600. Since I am not a musicologist, this outline derives from reading in secondary sources [see bibliography at the end], information supplied with the better CDs and some online sources. Appreciation of almost all serious music is improved by some effort to understand its history and development -- and indeed until very recently any educated person would have had some music education. In the case of Ancient and Medieval music, such effort is essential to enjoyment of the music, unless appreciation is to go no further that a certain "new age" mood setting. For each major period, I list suggested CDs [and occasionally other types of media] which document or attempt to represent the music. These CDs are not the only ones available to illustrate the musical history of Western civilization, but they are however, the ones I have available. [Those marked with * are additional titles that I have not been able to assess personally.] For a much greater selection of available CDs see The Early Music FAQ [http://www.medieval.org/emfaq/], which provides general overviews, and lists of the contents of the vast majority of recordings of early music.
    [Show full text]
  • Cyprus Museum #IMD2021 1 Museum Street, Lefkosia, Tel.: 22865854 [email protected], Facebook/Instagram: Department of Antiquities Cyprus
    LEFKOSIA DISTRICT Bank of Cyprus Cultural Foundation 86-90 Phaneromenis Street, Lefkosia within the walls, tel.: 22128157 [email protected], www.boccf.org Cyprus Museum #IMD2021 1 Museum Street, Lefkosia, tel.: 22865854 [email protected], www.mcw.gov.cy/da Facebook/Instagram: Department of Antiquities Cyprus Cyprus Railways Museum icom.museum Evrychou village, tel: 22933010 18 [email protected], www.mcw.gov.cy/da. Facebook/Instagram: Department of Antiquities Cyprus VISIT may THE MUSEUMS Ethnographic Museum (The Hadjgeorgakis Kornesios Mansion) OF CYPRUS 20 Patriarchou Gregoriou Street, Lefkosia within the walls 2021 tel.: 22305316, [email protected] www.mcw.gov.cy/da, Facebook/Instagram: Department of Antiquities Cyprus National Struggle Museum Archbishop Kyprianos Square Lefkosia within the walls, tel.: 22305878 [email protected] State Gallery of Contemporary Art - MAJESTIC Corner of Stasinos Ave. & 1 Kritis Str., 1060 Lefkosia, tel. 22458228 [email protected], Facebook/Instagram: stategallerymajestic A. G. Leventis Gallery 5 Anastasios G. Leventis Street, Lefkosia, tel.: 22668838 [email protected], www.leventisgallery.org The Leventis Municipal Museum of Nicosia 15-17 Ippokratous Street, Laiki Geitonia 1011 Nicosia, tel.: 22661475 [email protected], www.leventismuseum.org.cy LARNAKA DISTRICT Larnaka Municipal Museum of Natural History Grigori Avxentiou Avenue (In Larnaca Municipal Gardens) tel.: 24652569 Municipal Museum of the Historical Archives of Larnaka
    [Show full text]