Turkic Soundscapes: From Shamanic Voices to Hip-Hop (SOAS Studies in Music)

La 4e de couv. indique : "The Turkic soundscape is both geographically huge and culturally diverse (twenty-eight 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 break-up 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." "The Turkic soundscape is both geographically huge and culturally diverse (twenty-eight 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 break-up 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"--Publisher's description Cover Half Title Title Page Copyright Page Table of Contents List of figures List of tables List of musical examples Notes on contributors Acknowledgements Map of the Turkic-speaking world Foreword Foreword 1 Introduction: traditions and transformations in Turkic musical cultures Part I Cultural foundations in music of the twenty-first century 2 The concept of makam-based melody and its problematic in musical analysis 3 The pedagogical system of Azerbaijani master musician Bahram Mansurov (1911‒1985) 4 From popular tradition to pop diffusion: jahrī zikr among teenagers in present-day Kazakhstan Part II Turkic music in popular culture and mass media 5 Azerbaijani rap music and oral poetry between “the folk” and “the popular” 6 Mass music in Kazakhstan: the phenomenon and its interpretation 7 Musical images of Istanbul from Fatih Akin’s films and stage performances Part III Cross-cultural encounters in the Turkic-speaking world and beyond 8 From the spiritual to the profane and back: religious melodies and folksongs of Turkic peoples 9 The Circumpontic Lezginka dance as a cultural phenomenon 10 The impact of Turkic musical culture on the music of Bulgaria part IV Turkic music and national identities 11 Debating “national ownership” of musical instruments: the balalaika as a subject of ethnopolitical discourse 12 New music of the Crimean Tatars: history and current status 13 Ancient roots, modern nation-building: Kazakh spirituality and identity in the music of the Turan ensemble References Index