Applied Ethnomusicology

The article analyses the Dodecanese Islands as a source of Greek-Turkish controversy in the Eastern Mediterranean. The islands, with their strategic location, resource potential and historical and legal disputes, become a cause of subregional tension. Greece recognises them as an integral part of its territory, emphasising their cultural and economic importance, including tourism and resources. Turkey sees its own interests threatened, especially if Greek territorial waters are expanded to 12 miles, which could limit its access to sea lanes and increase Greek influence in the region. The conflict is exacerbated by the militarisation of the islands, historical claims and differences in international legal status. The authors apply J. Mearsheimer's theory of offensive realism, noting that one side's self-defense measures provoke retaliatory aggression, threatening the stability of the subregion. Particular attention is paid to militarisation, energy potential and subregional dynamics. The conflict is perceived by the parties not only as a legal or territorial conflict, but also as a matter of national pride, historical justice and cultural identity, which makes it difficult to find compromises.

Âşıklar, var oldukları dönem içinde toplumun sosyal, kültürel, ekonomik ve siyasal yapısını, gelişen ve değişen durumlar karşısındaki duygu ve düşüncelerini üretmiş oldukları şiirler, müzikler ve hikâyeler ile yansıtmış, adeta toplumun aynası olma görevini üstlenmiş kişilerdir. Yaşadıkları zamanın entelektüeli olarak nitelendirilebilecek âşıklar, ömürleri boyunca yapmış oldukları çeşitli kültürel ziyaretlerle bir nevi kültür elçiliği vazifesi üstlenmiş ve bu durumu yaşamları boyunca sürdürmeye gayret etmişlerdir. Çalışmamıza konu olan Âşık Davut Sulari, gezgin âşık olma özelliği sebebiyle, farklı sosyal ve müzik kültürlerinden etkilenmiş, söz konusu bu durumu kendi ait olduğu müzikal anlayış ve inançsal yapı ile harmanlayarak özgün bir saz ve ses icrası tavrı meydana getirmiştir. Sulari, âşıklık geleneğindeki en önemli üç unsur olan, irticalen söz söyleme sanatı, ses ve saz icrası konusunda adından sıklıkla söz ettirmiş bir âşıktır. Bu sebeple, Âşık Davut Sulari'nin saz/bağlama icrasının icra teknikleri açısından incelenmesi bu araştırmanın amacını oluşturmaktadır. Bu amaç doğrultusunda Sulari'nin çeşitli platformlarda seslendirmiş olduğu dört adet icra örneği ele alınmış, bu örneklerde yer alan icra özellikleri ve çalım biçimleri incelenmiştir. Araştırma nitel bir çalışma özelliği taşıyıp döküman analizi yöntemiyle hazırlanmıştır. Elde edilen veriler doğrultusunda Sulari'nin seslendirmiş olduğu eserlerde kendisine ait çalım biçimini belirginleştiren bir takım sol ve sağ el icra teknikleri tespit edilmiştir. Tespit edilen bu icra tekniklerinin tamamının Sulari'nin icra biçimini meydana getiren unsurlar olduğu sonucuna varılmıştır. Bu çalışma, ilgili icracılara ve alana katkı sağlamasının yanı sıra, Âşık Davut Sulari'nin eserlerinin direkt kaynağından aktarılması sebebiyle önem arz etmektedir.

Entrevista realizada a nós por Andreia dos Santos Menezes e Rosângela Dantas de Oliveira, a respeito das relações entre Literatura, extensão e formação universitária a partir de nossa trajetória e da experiência proporcionada pelo projeto Direito à Poesia.

The violin is a versatile instrument that has been incorporated into works across a variety of musical  genres, adapting to changing musical tastes and trends throughout history. Its extensive repertoire, spanning from the Baroque period to the present day, demonstrates the technical capabilities of the violin, as well as its ability to adapt to the stylistic characteristics of different periods. The contemporary repertoire that emerged in the mid-20th century significantly expanded the technical boundaries of the violin, and composers producing works in this field began to demand
performances that were outside the norm from performers. This repertoire marked a shift away from the traditional tone-centred approach, embracing alternative forms of expression that transcended the boundaries of the classical violin repertoire. It incorporated novel and innovative
techniques, pushing the boundaries of traditional performance practices. The formal structure of works from this period, the diversity in notation, and the focus on the essence of sound and timbre have made this repertoire an intriguing and worthy area of study for both performers and
researchers. The objective of this study is to provide examples of the unique characteristics and technical innovations offered by the contemporary repertoire and to encourage performers to
observe the differences in the violin repertoire of the contemporary period. The study’s primary objective is to serve as a model observation area for violinists seeking to interpret contemporary works.

ÖZ: Ney ve dilsiz kaval Tu rk musikisinde çok eski do nemlerden beri bilinen iki nefesli çalgıdır. Bu çalışma fiziksel yapısı, perde sistemi u fleme teknig i bakımından birbirine benzerlikleri olan bu iki sazı birbirinden ayıran icradaki yorum farklılıklarının ortaya konulmasını amaçlamaktadır. Bu amaçla geleneksel icra u slubunda icra edilmiş bir ney taksimi ile bir kaval açışı analiz edilerek icradaki vibra to, vurgu (Accent), glissando gibi yorum unsurlarını içeren mu zik cu mleleri dikte edilerek notaya alınmış ve iki saz arasındaki bu unsurların uygulanış yo nu nden farklılıkları ortaya konulmaya çalışılmıştır. Yapılan incelemede kavalın vibra toyu daha su ratli, keskin ve daha ko şeli yaptıg ı hemen hemen her seste vibra to yaptıg ı, neyin ise vibra toyu daha uzun deg erlerde, daha yayvan bir ifadeyle yaptıg ı ve her seste vibra to yapmadıg ı go zlenmiştir. Çalışmada Steinberg Cubase 5 DAW (Digital Audıo Workstation) yazılımı variaudıo o zellig i sayesinde perdeler u zerindeki vibrasyon (titreşim) hareketlerindeki farklılıklar go rsel olarak da go ru lebilmiştir. Kavalın vurguyu dil ile (tu) hecesi kullanarak yaptıg ı, neye go re vurguyu daha çok kullandıg ı, neyin ise vurguları gırtlak ile (gu) hecesi yardımıyla yaptıg ı ve kavala go re vurguyu daha az kullandıg ı sesleri daha bag lı ve uzun biçimde icra ettig i go ru lmu ştu r. Çalışmada ayrıca neyin ve kavalın yapısı ve tarihi hakkında bilgiler de verilmiştir. Bu çalışma betimsel bir çalışmadır. Go zlem, go ru şme ve literatu r tarama yo ntemiyle mevcut durum betimlenmeye çalışılmıştır.

Alevi inanç sistemi içerisinde yer alan cemler, içerisinde bulundurduğu inanç merkezli ritüellerle birlikte müziksel unsurları da bünyesinde barındırmaktadır. İnanç ve müzik bağlamında cem ayinleri kutsal kabul edilen müziğin yaşatılması ve aktarılmasında en büyük role sahiptir. Bu özellikleriyle cem ritüelleri tasavvufi halk müziğinin temel kaynaklarından birini oluşturmaktadır. Tüm Alevi topluluklarında kabul edilen inançsal müziğin kutsallığı Ehl-i Hak toplumunda belirli bir makam geleneği doğrultusunda icra edilmiş ve günümüze kadar yaşatılmıştır. Bu makam geleneğinin kökenleri Ehl-i Hak mitlerinde yer alan olayların söz olmadan sadece müzikle anlatıldığı mitolojik dönemlere dayanmaktadır. Ehl-i Hak cem makamları "Mecazi Makamlar" ve "Hakiki Makamlar" olmak üzere iki ana grupta toplanmıştır. * Bu makale TÜBİTAK 113K056 Numaralı proje kapsamında, TÜBİTAK'ın katkılarıyla hazırlanmıştır.

11. yüzyıldan itibaren Türk-İran coğrafyasında ortaya çıkan kültürleşme süreci, Osmanlı devletinin sosyo-kültürel temellerini atan zincirin önemli bir halkasını oluşturur. Osmanlı şiiri ve müziğinde, Osmanlı entelektüellerinin Timurlu dönemine ve Hüseyin Baykara hamiliğine duyduğu hayranlık, bazen oldukça imgesel düzeyde kalsa da kendini açıkça gösterir. Bugüne kadar, Osmanlı/Türk müziğinin Timurlu geleneği ile kurduğu ilişki, güfte mecmualarının ve müzik risalelerinin, 14.-15. yüzyıl Celayirli ve Timurlu saraylarının ünlü müzisyeni Abdülkadir Merâgî’ye yaptığı atıflar ve yine ona atfedilerek günümüze ulaşmış besteler çerçevesinde değerlendirilmiştir. Ancak Osmanlı İstanbulu müzik çevrelerinin, bir Timurlu bestekârı ile kurduğu bu ilişkinin niteliği, Merâgî’ye duyulan hayranlığın, onu efsanevi bir karaktere dönüştürerek vücut bulmasının arkaplanı, Osmanlı entelektüellerinin içinde bulunduğu sosyo-kültürel çevrenin, Timurlu geleneğine yüklediği anlamdan bağımsız düşünülemez. Bu bağlamda, son dönemlerde Osmanlı kültür tarihi araştırmalarına yeni bakış açıları sunan Osmanlı edebiyatı alanındaki çalışmaların, Meragi özelindeki problemlerle oldukça paralel bir çizgide ilerleyen soruları ve çözümlemeleri olduğu görülür. Bu çalışmalar ışığında, Osmanlı’da Timurlu sanatının akla ilk gelen temsilcilerinden Ali Şir Nevâyî kimliğinin Osmanlı İstanbulu'na intikalini ve dönüşümlerini, benzerlikleri ve farklılıkları açısından Merâgî ile karşılaştırmak, Osmanlı-Türk müziği tarihindeki kimlik tartışmalarına yeni bir bakış açısı kazandıracaktır.
Bu sunumda, Osmanlı müzik kimliğine Timurlu mirasının ve özellikle Merâgî’nin etkileri meselesi, Osmanlı edebiyatı çalışmalarının getirdiği, kozmopolitlik, yerelleşme ve Rumileşme gibi kavramları içeren yeni yaklaşımlarla paralel olarak, yeniden ele alınacaktır.

Ceramic rattles and rattle vessel adornos have received little attention in current Caribbean archaeology literature and may be overlooked or misidentified in Caribbean ceramic collections due to their minimal audibility or "failure" during the construction process. Here, we evaluate existing reports of rattle ceramics and adornos in the Caribbean and report on the discovery of rattle adornos within collections at the Florida Museum of Natural History and the Yale Peabody Museum. A detailed analysis of adorno rattles, including microscopic analysis, measurement of sound intensity, and a replication experiment was conducted. This study answers questions regarding their technological construction, potential function, geospatial and temporal spread, and cultural implications to Indigenous groups in the Caribbean. Despite difficulty in their construction, adorno rattles and ceramic rattles appeared in the Greater and Lesser Antilles throughout the Ceramic Age and likely functioned in ceremonial spaces.

Im letzten Jahrzehnt des 20. Jahrhunderts erschien in der Musik Kubas ein neuer Begriff, den Komponisten und Musiker gleichermaßen verwendeten, um neue Formen der populären Tanzmusik zu bezeichnen: die timba. Genau an diesem Begriff entzündet sich die gegenwärtige Polemik von Kritikern, Musikwissenschaftlern und anderen Experten. Wie in solchen Fällen üblich, stehen sich Positionen gegenüber, die von der Verteidigung des Begriffes bis zu totaler Unkenntnis des Themas reichen. Zwischen diesen Positionen zu vermitteln, ist unumgänglich, zieht man die spärliche Literatur, die bisher zu diesem Thema existiert, in Betracht. Damit soll jedoch keineswegs ein Schlusspunkt unter die bisherige Diskussion gesetzt werden. Die theoretische Diskussion über die timba ist ausgesprochen komplex, da es sich um ein sehr aktuelles Phänomen handelt, das sich auch weiterhin spürbar verändert. In theoretischen Studien zur Musik ist es nötig, eine gewisse zeitliche Distanz aufzubauen, um zu soliden und sicheren Kriterien zu gelangen. Dies ist bei der timba im Hinblick auf ihre Charakteristika schwierig. Es ist bezeichnend, dass die timba, die als Musikform gleichsam nahezu alle zeitgenössischen Stile tanzbarer Musik Kubas in sich vereint, getragen wird von einer Reihe musikalischer wie auch außermusikalischer Elemente, die eine bessere Annäherung an dieses Phänomen erlauben. Die Ursprünge des Begriffes reichen mehrere Jahrzehnte zurück. In unserem Land gibt es schon seit langem vielfältige Bedeutungen des Begriffes, die aus völlig verschiedenen Lebensbereichen stammen. In der Musik sehen verschiedene Komponisten, Interpreten und Wissenschaftler die Gruppe "Irakere" 1 als Urheber der aktuellen timba. Sie führen an, dass das Publikum den Ausdruck "la timba está buena" 2 1 Kubanische Musikgruppe, 1973 unter der Leitung des Pianisten Jesus "Chucho" Valdés gegründet, die sowohl Latin-Jazz als auch tanzbare Populärmusik spielt. 2 "Die timba ist gut".

This symposium honours Wolf Dietrich (1938-2014), and focuses on his musical recordings from fieldwork in the Balkans, the Mediterranean, and West Asia during the decades 1960-1990. These recordings are part of the Dietrich Collection, which includes his field notes and a small photographic archive, a list of his publications, his collection of related books and the scripts of the radio programs he produced in Germany and Switzerland using this material. The Dietrich Collection is one of the five ethnomusicological collections at the University of Münster, alongside with the Neubauer Library, the MAMO Digital Archive of Oriental Musical Theory, the Jäger Manuscript Collection, and the Collection of Musical Instruments.

In this symposium, distinguished professors and researchers from Austria, Cyprus, Germany, Greece, and Turkey will present selected material from the Dietrich Collection in Münster regarding musical recordings from regions in present-day Albania, Cyprus, Greece, and Turkey. The focus of each presenter will depend on their scientific field and may include issues related to music, ethnomusicological research, culture, and society.

Music consists of two main elements: sound and rhythm. In Turkish Music, the concept of rhythm is explained by the term "usul". This study aims to design an original notation system for Turkish Music usuls (rhythmic patterns) within the Braille writing system and to examine the representation of usuls using this system. Considering the importance of visually impaired musicians having access to a written resource for studying usuls, the Braille Turkish Music Usul Notation System (BTMUIS) has been developed. Additionally, the effects of the participants in the system's working group on their usul learning process were investigated. The analysis of the system's effectiveness based on the participants' feedback aimed to improve and develop the system. Thus, it is aimed to enrich and diversify the methods used by visually impaired individuals in the process of learning usuls. The Braille writing system, invented by Louis Braille in 1829, is the only notation system accepted by the United Nations Educational, Scientific and Cultural Organization (UNESCO) for visually impaired individuals. This system contributes to the development of visually impaired individuals in many fields, especially in education. However, the lack of adaptation of Turkish Music usuls to the Braille writing system, along with the lack of written resources in this field, makes it difficult for visually impaired students to learn usuls. In this context, this study seeks to answer the question: "How does the Braille Turkish Music Usul Notation System (BTMUIS) affect the learning process of usuls for visually impaired students?". This study was designed using the holistic single case pattern, one of the qualitative research approaches. The interview and data source scanning methods were used to collect data. In determining the study group, the criterion-based working group was preferred among the purposive sampling types suitable for qualitative research. Content analysis technique was used in the analysis of the data. According to the findings of the study, BTMUIS was found to be a useful system that facilitates, makes permanent and accessible the learning of Turkish Music usuls for visually impaired individuals. It was concluded that the use of the system in usul lessons would significantly increase in-class success, provide equal opportunities, increase individual autonomy, and make it easier to study usuls from written sources.

Con l'appuntamento 2016 a Pineto, in provincia di Teramo, le "Giornate di Studi Musicali Abruzzesi" completano il primo ciclo di capillare e periodica presenza sul territorio regionale, dopo le precedenti edizioni aquilana (Sulmona, 2013) chietina (Ortona, 2014) e pescarese (Pescara, 2015). È un risultato lusinghiero e per certi versi insperato, considerando che la manifestazione è resa possibile unicamente dalla volontà delle piccole anche se agguerrite forze associazionistiche locali.

In the colonial era, Western researchers were eager to record original musical works in Africa and catalogue them. In many cases, these recordings are considered “lost music,” since over the years those musical traditions declined and the indigenous languages in the songs nearly disappeared. Only in the twenty-first century, in an age when voices calling for the decolonization of knowledge and culture have grown stronger, have attempts begun to return the recordings to the places and communities where they were created. This process, known as music repatriation, the return of music to its homeland, is gaining momentum, but it raises profound ethical questions.


(Essay for Israeli journal "Hazman Haze" on August 27th about my thesis, AI translation)

The Ministry of Culture and Fine Arts, Cambodia, together with the Unesco Phnom Penh office, had invited me in February 2020 to undertake an evaluation of the Chapei safeguarding plan together with the use of the International Assistance funds (under the UNESCO ICH Convention) that it had been granted. The MoCFA at the end of 2017 had signed a contract with UNESCO, and the knowledge that the structural arrangement agreed to - combining both an urgent safeguarding plan with the assistance from the ICH Fund to support it - was a milestone in ICH for Cambodia and indeed the South-East Asia region.
Over the four years (with extensions) of the project, key questions presented themselves to be studied and answered: Is the scope of the work activities planned and agreed upon broad enough and deep enough to reach all those who can be reached, especially with new information filtering in about artists and communities? Are there researchers trained enough to send to all the many scattered locations? Are the findings that are being accumulated, month by month, tallying with the planned safeguarding activities? Have time and money been sufficiently allocated to activities? When are positive effects of the project visible?
Chapei Dang Veng is a Cambodian musical tradition closely associated with the life, customs and beliefs of the Cambodian people. It features the chapei (a type of lute often played at cultural festivals) accompanied by singing. Song lyrics range from the educational and a type of social commentary, to satire while incorporating traditional poems, folk tales or Buddhist stories. The tradition is considered to have multiple functions within Cambodian communities, such as safeguarding traditional rituals; transmitting social, cultural and religious knowledge and values; providing exposure to the old Khmer language; creating a space for social and political commentary; entertaining; connecting generations; and building social cohesion. Apart from musical talent, skills required to be a chapei player include wit, the ability to improvise and be a good storyteller.

Disabled People and Their Relationships to Abled People in Current Musicological Studies

The growing interest around music therapy and the health business with music making and listening is part of current musicological practice. It is wonderful to have such tools at hand and easy-going technical equipment that enables, as far as it is known ‘everyone’ of using these tools such as meditation, dance lessons, aerobic workouts with music, driving out boredom with listening while working out, music lists for road trips and the many clinical applications for the elderly with a decreasing mobility and a fading memory or with patients that need to overcome pain. Yet there is obviously not enough balance in science needed as science on music making and consumption may also include these parts of investigations as interdisciplinary researches are not a rare appearance anymore. Firstly, one may have to look into what is given as “abled” through the gaze of a wider social entity. Then the question of what is “disabled” is raised. Secondly, examples can teach practical lessons from the past and the now. What can be expected and why is it such a booming field of studies at this moment? Thirdly and finally, one may conclude further developments and the insight that a balance, that is classified in these viewpoints, will always be the unreached goal.

Scholars across disciplines have generated extensive bodies of work examining music and the climate crisis, music and global mobilities (including forced displacement), and music and cultural sustainability. Bringing together this work, this chapter examines the state of scholarly knowledge about how climate displacement affects (and could affect) the sustainability of musical practices, and how adverse climate displacement impacts on music sustainability could be mitigated. The chapter presents a hybrid narrative scoping review of English-language scholarly sources published this century that provide insights into the dynamics of music sustainability in situations of climate displacement. The sources represent a range of disciplinary foundations, theoretical framings, and geographical, political, and sociocultural settings. The narrative synthesis of findings is structured according to three key phases in the experience of climate displacement: the period prior to displacement; departure and movement; and resettlement. These findings reveal a raft of threats to music sustainability in situations of climate displacement, and a range of possible sociocultural responses—not only by displaced people, but also by host communities, policymakers, and others. The review underscores the need for further research on the effects of climate displacement on musical practices, and on the kinds of cultural initiatives that could help sustain musical practices whose human bearers are climate displaced. It is hoped this chapter could inform future directions in ecomusicological and ethnomusicological research, and ultimately hold implications for practice, advocacy, and policy decisions that could better support viable futures and lives for people who are forcibly displaced by the climate crisis.

Bütün yayın hakları saklıdır. Kaynak gösterilerek tanıtım için yapılacak kısa alıntılar dışında yayıncının yazılı izni olmadan hiçbir yolla çoğaltılamaz. © İÜ OMAR, 2022 istanbuluniomar istanbuluniomar istanbuluniomar omarsiv Ekim 2020'de yayımlanan bu kitapçık-CD'nin repertuvarı, Serhanende Nurettin Çelik'in hocası Agapos Alyanak'ın Hamparsum yazım sistemiyle kaydettiği ve bazı eski yazılı kaynaklardan seçilen suzidil makamında 20 adet eserden oluşuyor. Kitapçıkta Gönül Paçacı Tunçay'ın geçmişten günümüze fasıl geleneğini özetleyen yazısı ve Nurettin Çelik'le yapılan söyleşinin yanı sıra özgün eserlerin görselleri de yer alıyor.

Overview
    Chapters (14)

This book introduces the concept of activist music research, emphasising action and social responsibility and suggests that music research can be used to promote social and ecological justice. This is discussed in a series of position papers by music researchers who engage in public debate in their various roles - educator, critic, journalist, DJ, producer, promoter - and work with other actors in civil society and culture.


This chapter introduces the theme of the anthology, its context and summarizes the content of the chapters. After a brief discussion about the neglected history of activism in music research, the chapter introduces the idea of an activist turn in music research along with some of its main characteristics. This is followed by a discussion about the challenges in conducting activist music research and in naming it as a particular field of study, after which the context and content of the book is briefly presented.

The book suggests that we are experiencing an activist turn in music research, evidenced by the growing number of projects and publications discussing inequalities in musical practices and the impact music research can have on these inequalities. This idea is explored in a series of position papers and contemplative texts, where music researchers, music educators, and artistic researchers reflect on how their work and the position they occupy as professionals in society serves eco-social justice and equity. What is the point of studying and teaching music in an age of ecocide, neo(liberal)-colonialism, rampant racial inequities, persistent gender identity and sexual orientation discrimination? What does social and ecological responsibility and sustainability mean in music research?

The idea for the book was conceived within the context of Suoni, a non-profit independent research association in Finland founded as a self-organizing and independent network for scholars interested in exploring methods, pedagogics, practices and action for eco-social equity in relation to music and music research.

Music education stands out as a significant area for supporting social projects. The integration of music into children's educational processes is achieved through various social responsibility projects. This practice offers a multifaceted approach aimed at supporting children's cognitive, emotional, and sociocultural development and developing their talents. The ethnographic field observations used in this study are considered initiatives aimed at meeting the need for social responsibility projects through music education. Focusing on the accessibility of music education, the study highlights a significant area for disseminating and increasing the effectiveness of social responsibility-based music education approaches in Türkiye. In this context, the integration of music education with social responsibility projects stands out as an approach that can contribute to the multifaceted development of children by making music accessible to a wider audience. The long-term impact of music education projects on children's lives represents a critical area to consider when shaping future education policies and practices.

In this rhetorical essay, I argue for the benefits and possibility of grounding ethnomusicological research in enactments of artistic communication genres. I describe conceptual imprecision and incomplete analyses that often result from our fieldwork being guided by abstract categories like music and dance. I go on to outline the kinds of research needed to better understand any and all artistic acts formally and socially, and points to the promise of richer, more coherent, more productive, more multi-disciplinary output, with more relevance to the world.

This unpublished 2018 version includes important content about pro- social impact removed for publication in the International Journal of Traditional Arts, https://tradartsjournal.ncl.ac.uk/index.php/ijta/article/view/19.

Music and the objects that created sound were found throughout Early Medieval society; they were a vital part of life at the time, from use in battle to entertainment and religious worship. Understanding these objects increases our understanding of Early Medieval life, including the soundscapes, daily life, and craftsmanship. Focusing on the archaeological evidence, this book assesses the available sources to form an understanding of horns and trumpets, bagpipes and hornpipes, bone pipes, panpipes and the organ. The author analyses the ways these instruments were constructed and how they looked. Novel re-creations and reconstructions of these instruments allow unique experiments into how far away the instruments may have been heard and increase our understanding of when and how the objects were used.

This book introduces the concept of activist music research, emphasising action and social responsibility and suggests that music research can be used to promote social and ecological justice. This is discussed in a series of position papers by music researchers who engage in public debate in their various roles - educator, critic, journalist, DJ, producer, promoter - and work with other actors in civil society and culture.

The book suggests that we are experiencing an activist turn in music research, evidenced by the growing number of projects and publications discussing inequalities in musical practices and the impact music research can have on these inequalities. This idea is explored in a series of position papers and contemplative texts, where music researchers, music educators, and artistic researchers reflect on how their work and the position they occupy as professionals in society serves eco-social justice and equity. What is the point of studying and teaching music in an age of ecocide, neo(liberal)-colonialism, rampant racial inequities, persistent gender identity and sexual orientation discrimination? What does social and ecological responsibility and sustainability mean in music research?

The idea for the book was conceived within the context of Suoni, a non-profit independent research association in Finland founded as a self-organizing and independent network for scholars interested in exploring methods, pedagogics, practices and action for eco-social equity in relation to music and music research.

La "Notte dei Fornai" di Toritto rievoca un’antica tradizione natalizia in cui i fornai locali intonavano canti per richiamare la comunità a utilizzare i loro forni e per animare la questua nelle strade del paese. L'analisi riflette sugli effetti della rievocazione come trasposizione della tradizione nel contesto contemporaneo, interrogandosi, inoltre, sul concetto di autenticità nella musica popolare.

Readers are taken on a journey that identifies each musical instrument as a node within the broader culture of the group or people of which the instrument is an expression. The study retraces the history of ethno-organology, beginning with its precursors and the accounts of early travelers, and draws connections between ethno-organology and related disciplines such as ethnology, anthropology, musicology, organology, and ethnomusicology.

Among the issues examined are the migration of musical instruments, various systems of classification, and analogies between instruments from the pre-Christian era and those still used in traditional music today. The instruments discussed are divided into categories: among the idiophones are sistra, clappers, crotales, and ratchets; among the membranophones are cylindrical drums, frame drums, and friction drums; among the chordophones is the colascione; and among the aerophones are bagpipes, vertical flutes, reed pipes, and the diatonic accordion.

The book explores each instrument’s construction, performance contexts, distinctive techniques, historical development, similarities and differences with related instruments, and patterns of dissemination. It also recounts myths, rituals, and historical events associated with these instruments, in order to highlight their cultural significance—not only for the communities to which they belong, but for humanity as a whole.

ÖZ Müzik kültürü toplumların müzikal geçmişleri ve gelenekleri ile oluşturulmuş melodik, ritmik, güfte (söz) ve bunun gibi pek çok kültürel etkenin birikimi ile oluşmuş bir kültür alanıdır. Türk müzik kültürü, Türklerin var olduğu günden başlayarak günümüze kadar varlığını sürdürmektedir. İslam öncesi dönemde Hun, Uygur ve Göktürk Devletleri ile başlayan bu kültür Osmanlı İmparatorluğu döneminde en verimli dönemlerini yaşamış ve müziğimizin en verimli dönemi olmuştur. Osmanlı dönemi ve Cumhuriyet döneminde müzik ve kültürel alanda yapılan çalışmalar kayıt altına alınmış, Osmanlının son dönemleri ve Cumhuriyet ile birlikte birçok yazılı kaynak çıkmaya başlamış, süreli yayınlar basılmaya başlanmıştır. Osmanlı döneminde yayını başlayan Âlem-i Musiki Dergisi ve Gıdayı Ruh gibi dergiler karşımıza çıkmaktadır. Cumhuriyetin ilanı ile birlikte kültür sanat alanında yayınlar yapılmaya devam etmiş, Dar'ül-elhan Mecmuası ve Mûsiki Mecmuası'da bu süreçte yayınlarına başlamışlardır. Süreli yayınlar incelenirken günümüze gelindiğinde ise 1989 yılından itibaren yayın hayatına başlayan Milli Folklor Dergisi bu alanda yayın yapmaya devam etmektedir. Kültür ve sanat alanında yayınlar içeren dergi, kültürel mirasımızın yazıya aktarılmasında önemli bir rol oynamaktadır. Çalışmada incelenen 143 sayıdan elde edilen bulgulara göre dergilerden 74'ünde müzik başlığı altında farklı türlerde yazılar yazıldığı tespit edilmiştir. Bu dergilerde tespit edilen 109 makale incelendiğinde farklı bölgelere ait müzik türleri, bu bölgelerde yaşanan olaylar üzerine yazılmış türküler, ninni, düğün türküleri ve ilahiler yer almıştır. Nevruz'un konu alındığı birçok yazı incelendiğinde içlerinde Nevruz ve müzik ile ilgili yazılar olduğu görülmektedir. Ayrıca yazılarda müzik ve müzik eğitimi, Yurttan Sesler korosu, düğünler ve düğün türküleri, Dâr'ül-Elhân hakkında yazılar olduğu tespit edilmiştir. Birçok yazıda ise Türk müzik kültü-rüne hizmet etmiş önemli bestekârların hayatı, sanatsal yaşamı ve besteleri konu alınmıştır. Bu çalışmanın, kültürel alanda yayın yapan dergiler ile ilgili çalışma yapacak olan araştırmacıların, müzik alanında Milli Folklor dergisinde yayınlanan yazılara ve içeriklerine kolayca ulaşabilmesi ve bu verileri kullanabilmesi açısında araştırmacılara büyük kolaylık sağlayacağı düşünülmektedir.

Since ancient times, musical and poetic creativity in Turko-Mongolian nomadic cultures-including that of the Kazakhs-has functioned as a relatively genderinclusive sphere. Kazakh women, alongside men, historically participated in the musical culture as bearers of sacred (baksy), vocal (akyn), epic (zhyrau), and instrumental (kuishi) traditions. This legacy continues to shape contemporary musical culture in Kazakhstan. However, ongoing gender disparities in other areas of socio-political life may still limit the time and opportunities available to women for creative self-realisation. This article examines how the ambivalence between cultural equality and structural inequality has influenced the careers and artistic identities of contemporary Kazakh women composers. Drawing on interviews and case studies, the research explores the extent to which gender influences their compositional style and professional trajectories. Statistical analysis reveals that since the early 20 th century, women have accounted for 21.9% of Kazakh composers, a figure significantly higher than the global average. Furthermore, this proportion has grown steadily in recent decades. Importantly, the gender dimension of composition in Kazakhstan has not previously been compared to other cultural contexts. This study adopts an interdisciplinary approach rooted in the humanities, and integrating methods from music history, cultural studies, sociology and gender theory. It also incorporates musical-sociological tools such as statistical, sampling, and graphic analysis. Despite challenges in obtaining comprehensive data, the analysis of sources-including Grove Music Online, The Living Composers Project, Wikipedia, and composer unions in Kazakhstan, Russia, Belarus, and Turkic-speaking Central Asian countries-reveals Kazakhstan's distinctive profile in terms of gender representation in composition.

Music is a universal yet diverse cultural trait transmitted between generations. The extent to which global musical diversity traces cultural and demographic history, however, is unresolved. Using a global musical dataset of 5242 songs from 719 societies, we identify five axes of musical diversity and show that music contains geographical and historical structures analogous to linguistic and genetic diversity. After creating a matched dataset of musical, genetic, and linguistic data spanning 121 societies containing 981 songs, 1296 individual genetic profiles, and 121 languages, we show that global musical similarities are only weakly and inconsistently related to linguistic or genetic histories, with some regional exceptions such as within Southeast Asia and sub-Saharan Africa. Our results suggest that global musical traditions are largely distinct from some non-musical aspects of human history. Do people and their cultures move together or independently? Darwin proposed "curious parallels" 1 between biological and cultural evolution, such that "a perfect pedigree of mankind… would afford the best classification of the various languages now spoken throughout the world" 2 . Darwin's proposal stimulated studies of cultural evolution that attempted to trace ancient population movements by combining linguistic, archaeological, and/or genetic histories . Some have found support for a correspondence between the phylogenetic patterns in language and the movement of human populations . For example, quantitative data comparing global genetic and linguistic diversity shows that genetic relationships between populations are generally tighter within language family groupings, but also that in around 20% of cases, populations are genetically closest to linguistically unrelated groups 12 . Critics of the phylogenetic approach argue for more complex relationships between people and their cultures, pointing out that basic vocabularies used to construct language phylogenies represent one limited dimension of cultural history that does not necessarily correspond to other markers of language or culture . Music, like language, is a universal cultural trait that varies within and between societies . Could music play a significant part alongside language in research on human history? 70 years ago, Alan Lomax proposed that it could, arguing that musical style changes less than language or other cultural traits . There are three contrasting predictions regarding potential historical relationships between music, languages, and genes: (1) music correlates with genes due to parallel processes of migration and evolution 26-29 ; (2) music correlates with language due to shared process of cultural transmission via vocal and interactional domains (i.e., song and speech both primarily use words) 30-32 ; (3) musical patterns are unrelated to either genes or language, due to differences in the evolutionary shape, fabric, and/or tempo of musical, linguistic, and

This paper delves into the cultural and musical diversity manifested in vocal and traditional world music. Drawing upon ethnomusicological literature and contemporary research, it examines how vocal music operates as a conduit for cultural memory, storytelling, and social identity across global societies. Additionally, traditional music practices are analyzed as dynamic, evolving phenomena shaped by both local traditions and transnational influences. A regional comparative approach is used to visualize how vocal and world music practices differ across continents. This study enhances our understanding of music's role as a vital cultural force.

There is no theoretical infrastructure for the Uşşak makam in the theoretical and practical history of Turkish Music. This situation causes problems such as "lack of prior knowledge" and "misconceptions" in explaining and learning the concept of Uşşak with the most accurate information. It is known that Uşşak makam has been used with concepts such as gender, layer, fourth, fifth, circle, fret and maqam in various sources related to music theory throughout the historical process. Safiyüddîn Abdülmü'mîn Urmevî (1216-1294) defined Uşşak as a layer, quadruple consisting of Tanînî-Tanînî-Bakiyye (TTB) intervals, and then as a circle, starting from the 13th century. These functions were abandoned in the edvârs and treatises written after the 15th century, and over time it was determined that the makams "Nevrûz" in the 13th century, "Rekb/Çargâh-ı Rekb" in the 15th century, "Dügâh-ı Kadîm" and "Hûzî" were used as the makam "Uşşak" in the 18th century and have survived to the present day. In other words, although the name Uşşak has remained the same for centuries, it is understood that its melodic structure has constantly changed and transformed, reaching the present day. In this study, qualitative data-based, relational scanning, document analysis and literature review methods were used in order to reveal the historical change process of Uşşak makam in line with the findings obtained from theoretical sources. With this method, the truths about the makam were determined and explained based on the approaches and classifications used by theorists while explaining the Uşşak makam and the practical applications of the composers.

Türk halk kültürü, tarih boyunca halkın yaşadığı coğrafyalarda şekillenerek kuşaktan kuşağa aktarılan geleneksel değerlerdir. Kırsalda yaşanan kültürel değerler kentlerle etkileşimin artması ve yaşanan göçler sebebiyle günümüzde kent ortamında da yaşanmakta ve üretilmektedir. Şehirlerde halk kültürünü yansıtan ürünler arasında el sanatları, yemek kültürü, geleneksel giyim, törenler ve dansların yanında halk müziği de örneklendirilebilir. Türk halk müziğinin önemli temsilcileri olan kırsalda yaşayan yerel icracılar çeşitli nedenlerle kente göç etmiş ve bu yeni icra ortamlarında kendilerini ifade etmeye başlamışlardır. Kent ortamında icralarını sürdüren bu temsilciler hem kırsalın müzik geleneğini taşıyıp yaşatmışlar hem de şehir ortamının çok yönlülüğü içerisinde üretimlerine devam etmişlerdir. Türk halk müziğinin canlı bir parçası olan yerel saz sanatçıları, âşıklar, halk ozanları ve icracılar kent ortamında da kendi üretim şekilleri ile zengin bir müzik ve edebiyat mirası oluşturmuşlardır. Halk ozanlarına ait türküler, kendilerine has yöresel tavır, dil ve üslûpla, sade ve güçlü anlatımlarıyla Türk halk müziğinin önemli beslenme kaynaklarından biridir. Yöresel ve ulusal kültüre yönelik birçok değeri türkülerinde dile getiren ozanlar, mekânlar arası olduğu kadar zamanlar arası iletişimi ve aktarımı da sağlamaktadırlar. Halk ozanları genellikle yaşadıkları çevreden aldıkları konular yanında doğa, aşk, toplumsal adalet gibi evrensel temaları işlerler. Geleneksel olarak saz eşliğinde söyledikleri türkülerle hikâyelerini ve duygularını dinleyicilere ulaştırırlar. Ancak kent kültürüyle birlikte bu ozanlar, kent yaşamının getirdiği değişimleri de kendi perspektifleri ile türkülerine yansıtmışlardır. Bu çalışmada; küçük yaşlarda doğduğu topraklardan ayrılarak turistik bir yerleşim yerinde kent yaşamını sürdüren 'Kayıp Ozan' mahlaslı Dursun Ali Kebabçı'nın hayatı, ozan kimliğinin oluşum süreci ve kent yaşamında uzun yıllardır üretmekte olduğu türkülerinin, içerik analizi tekniği kullanılarak konuları ve müzikal unsurları üzerinde inceleme yapılmıştır. İncelemede Kayıp Ozan'ın eserlerinde yer alan sözel ve müzikal özellikler tablolaştırılarak ortaya konulmuş; halk müziğinin temel nitelikleri ile ne ölçüde örtüştüğü sorgulanmış, ozanın etkilendiği kentsel ve kırsal unsurların müziğine olan etkileri üzerine değerlendirmeler yapılmıştır.Araştırma; şehirleşme ve halk müziği perspektifinde ele alınan bir konu olması ve Kayıp Ozan'ın eserlerinin, üzerinde müzikal analiz yapılarak tanıtıldığı ilk araştırma olması bakımından önem taşımaktadır. Anahtar Kelimeler: Türk halk müziği, kent folkloru, halk ozanı, türkü, halk kültürü.

This article aims to contribute to the
memories of rock in the Aveiro region of Portugal,
through the testimonies of musicians that participated
in rock bands between the late 1950s and 1990. We are
particularly interested in the dynamic created in the
region by the arrival of international rock, which led to
the formation of rock bands through local initiatives.
Thus, it is important to characterize the social,
economic, and political contexts from which these
bands emerged, their motivations, their repertoires, the
difficulties they faced, and the transformations they
underwent. These transformations include different
aspects which are directly related to the strong political
change that occurred due to the revolution of April
1974 and its consequences in terms of access to
education, to professional possibilities and to
technological supports relating to the music market

The final version of this article was published in Journal of Popular Music Studies 37 (2). This is the accepted manuscript.


Ownership is powerful because of its double effect, as simultaneously a matter of belonging and of property… Belonging divides and property disowns. So where technology might enlarge networks, proprietorship can be guaranteed to cut them down to size. 1 In her seminal article "Cutting the Network," anthropologist Marilyn Strathern discusses the category of ownership as created through the deliberate cutting of otherwise fluid and expansive social networks. She states that the boundaries of ownership delimit parts of 2 wider networks simultaneously through relationships of property, by demarcating what counts as a property object, and through relationships of belonging, by identifying who may (or may not) have rights over it. The double relationship is especially remarkable in

The Toraja (more specifically, the Toraja-Sa'dan), a large group of over 750,000 speakers in the highlands of Central Sulawesi, Indonesia, are renowned for their rich culture ("Toraja-Sa'dan" 2017). They are famous for their intricate funeral ceremonies and cliffside burial sites and are also known for their vibrant sense of identity. The Toraja are still a tightly knit group, and various aspects of their culture, such as a distinct architectural style for their homes and an intricate system of mutual debt, bind them together. Because of the remoteness of their homeland in the highlands of Sulawesi, many aspects of their culture, language, and arts have not only survived but have thrived, compared to many of their lowland neighbors. 1 They have resisted conquest and were not subdued by colonial Dutch forces until 1906 . The Toraja are proud to be identified as such, and those not living in their homeland frequently return to maintain familial ties and societal relationships. Perusing major academic journals reveals that they have been studied, analyzed, and written about extensively. Through the years, anthropologists have visited and written substantial ethnographies and, considering that Indonesia boasts around 700 languages, one might even say that the Toraja have been over-researched in comparison to others. Dana Rappoport's book, Songs from the Thrice-Blooded Land, is divided into three volumes: the first is the Ethnographic Narrative, the second is a florilegium of Toraja poetry, and the third is a DVD including the 1 The Toraja language is rated a 5 (Developing) on the Expanded Graded Intergenerational Disruption Scale (EGIDS) (Lewis and Simons 2010). Matt Menger has bachelor's and master's degrees in music from the University of Houston, and continued his studies with courses in World Arts at the Graduate Institute of Applied Linguistics. He is an Arts Consultant with SIL and has worked in Southeast Asia for the past eight years. Matt has a particular interest in the interaction of local arts and religion, as well as in arts revitalization movements. He is a member of the Society for Ethnomusicology, the International Council for Traditional Music, and the International Council of Ethnodoxologists.

Music is an art that is generally practiced and most available of all the arts. In most Nigerian cultures especially in Igbo culture, musical activities are organized to meet the demands of the people in all situations of life be it good or bad. It cuts across all stages of the developmental processes of man, from childhood to old age. At each stage, music plays some significant roles in the lives of the people. Music is part and parcel of Igbo culture. Igbo society provides avenues like ceremonies, festivals, and burials to mention but a few through which music are expressed. This paper among other things tries to examine the impact of folk music In Igbo culture, the place of music in the promotion of sustainable rural development. Selected Igbo folk songs with subject matters geared towards maintenance of peace in Igbo societies were also analyzed.

This article provides a brief sketch of how scholars may be actively involved in conflict transformation efforts using music or the arts beyond their purely artistic connotations. Here I will explore the ways in which music has been employed in some ethnomusicological projects based on my personal experiences, which can hopefully stimulate debate and provide some ideas for other scholars in different branches of humanities and social sciences. I would argue that scholars should at least occasionally break away from a position of contemplative self-sufficiency, the so-called ivory tower of academia, and efficiently employ their knowledge and understanding of music in the broadest sense for the betterment of humanity. In ethnomusicology, such pragmatic involvements represent a growing field commonly known as "applied ethnomusicology". The two projects presented here, the project Azra and the project Kosovo Roma, employ several concepts derived from applied scholarship. These ideas draw on a relevant theoretical precedent in the field of anthropology, where concepts such as adjustment, administration, action, and advocacy are particularly pertinent (see Spradley and McCurdy 2000). They are also informed by practices in applied ethnomusicology, such as developing new performance frames, feeding back musical models to the communities that created them, providing communities with access to strategic models and techniques, and developing structural solutions to broad problems (see Sheehy 1992). Both projects are related, although in different ways, to the succession of wars that erupted in the territories of what was Yugoslavia. One of the projects was conceptualized far from the war-torn territories, in Norway, while the other was meant to take place in the former Yugoslav province of Kosovo. In both cases, music was treated as a powerful tool, able to empower minority groups and at the same time to enlighten majority groups.

Née en 1922 sous le nom de Marie Louise Labiste, Dominique Aubier voyage à plusieurs reprises en Espagne à partir des années 1950. En Castille, sur les traces du Quichotte – dont elle propose une lecture ésotérique controversée –, à Pampelune et à Séville, où elle nourrit sa passion pour la tauromachie, et enfin, dans le petit village andalou de Carboneras, où elle s’installe en 1961 pour une vingtaine d’années, autant de séjours qui imprègnent l’œuvre plurielle de cette autrice. Cette communication vise à montrer comment les récits de Dominique Aubier ont contribué à la construction d’une identité féminine singulière, oscillant entre cosmopolitisme et engagement politique. Son écriture de voyage, caractérisée par une grande diversité de formes, redéfinit en partie les genres traditionnels du récit de voyage.
En effet, Aubier ne s’inscrit pas dans le cadre classique du « récit de voyage » : ses impressions, mêlant observations culturelles et dialogues avec des Espagnols de divers milieux sociaux, se trouvent dans de « beaux livres » et côtoient des photographies d’artistes tels qu’Inge Morath, Brassaï ou Jean Mounicq (Séville en fète, 1954 ; Guerre à la tristesse, 1955;  Sur la route du Cid, 1960). Par ailleurs, en 1961 elle cosigne avec l’historien exilé Manuel Tuñón de Lara un guide d’Espagne publié au sein de la collection « Petite Planète » de Chris Marker (Éditions du Seuil). Cet ouvrage se distingue par un engagement politique antifranquiste affirmé. Cependant, bien qu’Aubier soit liée à des cercles intellectuels et militants de gauche, comme la librairie espagnole d’Antonio Soriano à Paris, elle ne semble pas faire de la critique du régime franquiste une priorité. Ses amitiés, son vaste réseau et sa maîtrise de la langue espagnole en font une observatrice avertie et au fait de la réalité espagnole : nous verrons comment ce bagage influence la vision de l’Espagne partagée dans ses textes, et si le réalisme social qui imprégnait alors les récits de voyage de ses contemporains espagnols (Juan Goytisolo, Juan Marsé) se retrouve dans ces publications.
Enfin, une autre facette intéressante réside dans le rôle performatif qu’elle a pu jouer dans le développement touristique de Carboneras. Figure incontournable du village, elle accueille régulièrement artistes et architectes, et soumet en 1962 des propositions d’aménagement au directeur de la promotion touristique. Dans la mesure où Dominique Aubier, « la Dama de Carboneras », est perçue localement comme un symbole de progrès et d’indépendance, son parcours et ses écrits contribuent à mettre en lumière le « dialogue asymétrique » inhérent au voyage.

In most circum-Caribbean locations,' the influence of Africa is evident
in the musics that emerged from various mixtures of Yoruba, Bantu,
Fon, Kongo, and other African peoples with Spanish, Portuguese,
English, and French musical forms, structures, and genres. These intermixtures can be heard in the polyrhythms of the three bata drums
and the call-and-response invocations of Cuban Santeria ceremonies;
in the singing and drumming of Haitian vodun rituals; in the percussion-driven song of Honduran dugu rites; in the three drums, metallophones, and call-and-response singing of Brazilian candomble; in the percussion-supported harmonized song of Surinam Winti; in the polyrhythmic and cross-rhythmic virtuosity of the salves of the Dominican Republic's Africanized interpretations of Roman Catholic traditions; in the call-and-response, puya drum-accompanied singing of Afro-Venezuelans; and in varieties of African-derived or African-influenced music-making from Panama, Guatemala, Puerto Rico, Belize, Mexico, Peru, Jamaica, Antigua, Martinique, Guadeloupe, Nicaragua, Colombia, and other locations.

Türk halk müziği kendi içerisinde çeşitli formlara ayrılmaktadır. Semahlar da söz konusu formlardan biridir ve aynı zamanda bir ritüel olarak sürdürülmektedir. Söz konusu ritüellerde icra edilen eserler, Türk halk müziğinin repertuvarını zenginleştirmektedir. Kırtıl Semahı ve Kısas Semahını form, usul ve makam bakımından karşılaştırmalı analizini amaçlayan bu çalışma, Kırtıl Semahı ile Kısas Semahının müzik ve ritüel bağlamında özelliklerinin belirlenmesi, seçilen örneklem üzerinden her iki semahın özelliklerinin karşılaştırmalı form, usul ve makam analizinin yapılması, böyle bir çalışmanın ilk defa yapılıyor olması ve bu alanda çalışma yapacak olan araştırmacılara kaynak olması bakımından önemlidir. Bu çalışmada nitel araştırma yönteminin betimsel tarama modeli, netnografya yöntemi ve içerik analizi yöntemi kullanılmıştır. Çalışmanın evrenini Kırtıl Semahı olan "Aşağıdan Gelende Telli Turnalar" adlı semah ile Kısas Semahı olan "Bugün Yasta Gördüm Zülfü Siyahı" adlı semah oluşturmaktadır. Evren aynı zamanda çalışmanın örneklemini de yansıttığı için ayrıca bir örneklem seçilmeyerek genel evren üzerinden çalışılmıştır. İlk olarak literatür taramasıyla elde edilen veriler gerekli konu başlıklarında açıklanmıştır. Daha sonra eserler içerik analiziyle incelenmiştir. Son olarak ise her iki semah arasındaki benzerlikler ve farklılıklar üzerinden karşılaştırmalı analiz yapılmıştır. Elde edilen veriler sonucunda her iki semahın da birden fazla bölüme ait olduğu, her bölümün farklı makam ve usûl yapısına sahip olduğu, ezgisel yapılarının birbirinden farklı olarak icra edildiği bölgelerin müzikal dinamiklerinden etkilendiği tespit edilmiştir.

The journal Cultural Anthropology asked me to write a comment on Eliva Wepfer's article, "The Affective Politics of Sound How an Environmentalist Initiative Approaches Regeneration through Sound Healing." My comment is about the politics of thinking about 'sound baths' and 'healing through music' in ethnomusicology. (I've only supplied my own comment here and you'll have to find the actual article some other way.)

Bakanlığımız tarafından 1975 yılından itibaren gerçekleştirilen Milletlerarası Türk Halk Kültürü Kongreleri Türk halk kültürü konusunda sürdürülen en önemli çalışmalardan biri olarak dikkat çekmektedir. Kongre yerel, ulusal ve uluslararası düzeyde çalışma yapan araştırmacı ve bilim insanlarının bir araya gelerek fikir alışverişinde bulunduğu, yeni bilimsel çalışmaların ve alandaki gelişmelerin paylaşıldığı önemli bir platform olmuştur. İlki 1975 yılında İstanbul'da, ikincisi 1981 yılında Bursa'da, üçüncüsü 1986 yılında İzmir'de, dördüncüsü 1991 yılında Antalya'da, beşincisi 1996 yılında Ankara'da, altıncısı 2001 yılında Mersin'de, yedincisi 2006 yılında Gaziantep'te, sekizincisi 2011 yılında İzmir'de, dokuzuncusu 2017 yılında Ordu ilinde düzenlenmiştir. 10. Milletlerarası Türk Halk Kültürü Kongresi ise Cumhuriyetimizin kuruluşunun 100. yıl dönümünde 10-14 Aralık 2023 tarihleri arasında Ankara'da gerçekleştirilmiştir. Kongrenin konusunu oluşturan halk kültürü, yüzyılların deneyimi ile kuşaktan kuşağa aktarılan, tarihsel süreç içinde biçimlenerek kendine özgü kuralları ile Türk coğrafyasında özel bir öneme sahip değerler bütününü oluşturmaktadır. Bu zengin kültürel mirası, yaşatmak ve gelecek kuşaklara aktarma sorumluluğuyla Yaşayan Miras ve Kültürel Etkinlikler Genel Müdürlüğü bünyesinde yarım asırdır gerçekleştirilen alan araştırmaları, bilimsel toplantılar ve yayınlar yoluyla, elde edilen veriler "Halk Kültürü Bilgi ve Belge Merkezi'nde arşivlenmektedir. Bu alanda günümüzde yapılan çalışmalar geçmişe tanıklık etmekte, geleceğe yol göstermekte ve tarihe kaynak oluşturmaktadır. Bu nedenle bizi biz yapan değerlerimizi araştırmak, belgelemek, yayınlamak ulusal kültürümüzden evrensel kültüre katkı sağlamak temel sorumluluklarımızdandır.

Euro-American intellectuals began by thinking of folklore as relics from a pre-modern era, showing our own nostalgic anti-modernism. Paradoxically, we then subjected folklore to the information control mechanisms of modernity: identification, observation, investigation, collection, classification, analysis, comparison, interpretation, and evaluation-all in service to science, expertise, universities, and the knowledge production industry. Today, we challenge the inscription of folklore studies into the epistemology of modernity and its institutional power structures, especially in terms of its consequences for minorities and people of color. In this essay I construct a brief history of folksong observation and collecting chiefly in the United States, the region I know best. I attend to how and why the consensus among American folklorists changed over time concerning who are the folk (if not peasants, then who?), what constitutes folksong, and how folksong is to be studied and understood. [Written in 2023; at the proof stage as of July, 2025; awaiting publication later in 2025.]

Resumo: O debate que se propõe nesse texto recorte da pesquisa desenvolvida pelo Grupo de Pesquisa Negô 2 trata da discussão sobre os modos e os caminhos que a etnomusicologia tem desenvolvido no Brasil, no que se refere à produção de trabalhos acadêmicos em formato colaborativo, coletivo e participativo. O escopo do debate desse texto recorte aponta para uma descolonização dos processos metodológicos de pesquisa etnomusicológica, na busca por um (afro)futuro possível, para pesquisadores negros e pesquisadoras negras, dentro da academia. Ressaltamos com esse texto, enquanto pesquisadores negros e pesquisadoras negras, a reivindicação por abordagens e perspectivas de pesquisa etnomusicológica com reconhecimento dos negrocídios existentes nas práticas de produção de conhecimento, dados efeitos da Modernidade, rompendo com a colonialidade e buscando promover ações decoloniais, assumindo, assim, o compromisso epistêmico para a erradicação do racismo institucional e estrutural da sociedade.

This work proposes a reinterpretation of Mestre Pastinha's legacy, not only as a central figure in the history of capoeira angola in the 20th century, but also as an author whose writings deserve greater recognition. Drawing from a dialogue with The Posthumous Memoirs of Brás Cubas by Machado de Assis, I argue that Pastinha should be understood as a “capoeira-author” — a master who writes from within his lived experience in the roda, not merely about it. The essay explores the historical and social conditions that shaped the reception of his writings, marked by structural racism and the legacy of slavery in Brazil. The analysis unfolds through sections inspired by capoeira movements themselves — headbutts, handstands, gingas, and sweeps — used as critical metaphors for the ways in which Pastinha's texts have circulated and been interpreted over time.