Folk Music

El objetivo de este trabajo es analizar y dar a conocer como fue el proceso de recuperación del folklore tradicional en Orcera a comienzos de los años 80 del siglo pasado y su evolución hasta la actualidad. También se ha procedido a recoger algunas de las canciones que la Asociación de Coros y Danzas el Remeneo ha ido recopilando desde su constitución en 1998 con el propósito de contribuir a su difusión y puesta en valor

Περιέχει το πλήρες κείμενοΜε το πέρασμα του χρόνου και την κατακόρυφη αύξηση του όγκου του διαθέσιμου ψηφιακού περιεχομένου, προερχόμενο είτε από πρωτογενώς ηλεκτρονικές πηγές είτε από ψηφιοποίηση, γίνεται ολοένα και μεγαλύτερη η ανάγκη για διαλειτουργικότητα μεταξύ ψηφιακών αποθετηρίων. Η παρούσα εργασία παρουσιάζει επιτυχημένα παραδείγματα διαλειτουργικότητας ελληνικών αποϋετηρίων με τη Europeana μέσω του έργου EuropeanaLocal καθώς και το DSpace Europeana plug-in, ένα εργαλείο λογισμικού ανοικτού κώδικα που αναπτύχθηκε από Έλληνες προγραμματιστές και φάνηκε ιδιαίτερα χρήσιμο στην συγκεκριμένη προσπάθεια. Επιπλέον, δίνεται ιδιαίτερη έμφαση στην απαίτηση για επυ\εκτική παροχή εγγραφών από αποθετήρια σε συσσωρευτές περιεχομένου και παρουσιάζονται κάποιες επεκτάσεις της πλατφόρμας αποθετηρίων DSpace για την παραμετροποίηση και την ευέλικτη διαχείριση των απαραίτητων μηχανισμών και διαδικασιών

This paper introduces *Countrymance*, a newly coined genre by M. Dangi (2025). Formed from *country* and the suffix *-mance* (from *romance*), the word signifies "a love rooted in simplicity, nature, and the timeless traditions of rural life." *Countrymance* is presented as both a **literary genre** and a **music genre**, uniting written word and song under the same vision. In literature, it represents stories, poetry, and memoirs grounded in rural imagery and heartfelt simplicity. In music, it expresses itself through ballads, acoustic storytelling, and lyrics that celebrate love in harmony with nature. By formalizing this neologism in the academic record, its first use and authorship are permanently documented, contributing to the expanding dictionary of newly coined literary and musical genres connected to Spiritual Feminist Literature and its evolving branches.

Mahapurusha Srimanta Sankardeva was a preceptor, a great litterateur and a rare social-reformer. He was a great sociologist and man of democracy. He tried his level best to make the Assamese a perfect and peaceful nation devoid of castes and creeds. Therefore, he had innumerable followers from different castes and tribes of Assam. The religion and culture propagated by Sankardeva is universal. The religion has no conflict with any other religion of Assam, India or beyond. Therefore, the religion of Sankardeva has attracted the hearts of various tribes of inner and outer Assam. He embraced different communities into his religious fold by initiation. Srimanta Sankardeva was a versatile genius. He was a saint and preacher, poet and playwright, philosopher and social reformer, artist and composer all in one. He had an incomparable influence on Assamese culture and a great contribution to Assamese literature. His first identity is that he is the founder of the sect of Assam Vaishnavism. Sankardeva brought the message of faith in the one Lord, Vishnu. Decentralized Leadership Management is a perfect weapon to reduce all kinds of leadership corruptions. His expertise in conflict management is well-known all-over India.

Abdallar arasında oldukça tercih edilen bir meslektir. Özellikle Kırşehir, Kırıkkale ve Yozgat başta olmak üzere Orta Anadolu Abdalları, müziği mesleki uğraş olarak düğünlerde icra etmiştir. Nitekim Muharrem Ertaş da söz konusu Abdal müziğini temsil eden önemli ustalardan biridir. Gerek repertuvarı gerekse icra özellikleri bağlamında birçok kişiye örnek olmuştur. Günümüzde ise hem vokal icrada hem de bağlama icrasındaki karakteristik tavrı, başkası tarafından örneklendirildiğinde hemen ayırt edilebilmektedir. Ancak Muharrem Ertaş'a ait icra özelliklerinin somutlaştırılabilmesi için icra analizinin yapılması gerekmektedir. Dolayısıyla bu çalışmada amaç Muharrem Ertaş'la özdeşleşmiş olan Avşar Bozlağı özelinde ses icrasını tavır ve üslûp bağlamında incelemektir. Çalışmada nitel araştırma yönteminin betimsel tarama modeli, günümüz araştırma yöntemlerinden dijital etnografi (netnografya) ve içerik analizi yöntemleri kullanılmıştır. İlk olarak

The field of Jewish music is a cross-disciplinary one and is rich, broad and complex as the culture that has created it. As a subordinate topic within both Judaic Studies and ethnomusicology, Jewish music can be approached from different humanistic or artistic starting points. It involves the scholarship of musicology, ethnography, folklore, cultural anthropology, comparative religion, archeology, iconography, history, sociology, etymology and others.  It is thus, not surprising that the field of Jewish music, while growing steadily, is still one of the least researched areas of scholarship.

One of the main problems with the research of Jewish music is the problem of its definition. For the sake of comparison, let us imagine, for example, a group of scholars embarking on research of traditional music of the Australian Aborigines in the Northern Territory. The research will be conducted as fieldwork within the clearly defined region.  It will start with a systematic collection of data such as field-recordings and photographs, the transcription of aurally-transmitted musical, dance and narrative material, close depiction of tribal ceremonies, as well as tools and instruments utilized by the tribe, and so forth. The research will resume with the analysis of the collected information, in order to understand its cultural context and give an accurate picture of musical life and tradition of the people in question. Centuries of limited cultural exchange and relative isolation would result in a clearly defined depiction of cultural identity and musical idiosyncrasies. Ultimately, the scale of such a project is defined and dictated by the amount of access allowed by the people subjected to the research.

The study is an investigation into the use of code-mixing in the gospel songs of some Nigerian music artistes. There has been a remarkable evolution of code-mixing in Nigerian gospel music over the years. This evolution has been as a result of the multi-cultural and multilingual complexities of the Nigerian Language system. Therefore, this study explores and examines the various reasons why code mixing is employed in the gospel music industry in order to identify the limitations inherent in the conveyance of thoughts and meanings. The study also determines whether or not the message and theme of Nigerian code-mixed gospel songs are understood by non-speakers of the languages. Using observation and empirical analysis of three gospel songs selected purposively from the three major languages in Nigeria: Yoruba, Hausa and Igbo, the study shows that the reasons Nigerian gospel artistes' codemix includes the desire for adequate expression and communication of ideas to a wider audience; the need to maintain the indigenous heritage by Africanizing some English terms and to showcase prowess and prestige and foster the spirit of nationalism and unity amongst Nigerians. The Matrix Language Framework by Carol Myers-Scotton and Accommodation Theory by Howard Giles provide the theoretical framework for the study. From the analysis, it is gathered that codemixing arises from limitations in the flow of expression. Hence, Nigerian gospel artistes resolve to a quick switch of languages. Lastly, with the aid of a statistical representation of data, it is gathered that non-speakers of code-mixed languages comprehend the messages embedded in Nigerian gospel code-mixed songs.

This study examines the musical practice, life story, and kaval performances of Kemal Ataş, a local
performer from Okçabel village in the Gürgentepe district of Ordu Province, from an ethnographic
perspective. The central problem of the research is grounded in the role that local performers, key
bearers of regional musical culture play in ensuring the sustainability of cultural memory. Having
been raised in an oral culture environment, Kemal Ataş’s musical legacy has been documented
through semi-structured interviews conducted with his son, Ferhat Ataş, as well as through archival
sound recordings and thematic melodic excerpts derived from these recordings.
A qualitative research methodology was adopted, employing interview and document analysis
techniques during the data collection process. The interview data were analyzed using descriptive
analysis; the performance recordings were digitized and transcribed into musical notation,
revealing the structure of Ataş’s repertoire. The findings demonstrate that Kemal Ataş was not only
a performer but also a craftsman who transmitted traditional instrument-making knowledge across
generations. The materials he used in the instrument-making process, the structural characteristics
of the melodies he performed, and the social contexts in which he made music all reflect the multi-layered nature of the local musical culture.
In conclusion, the case of Kemal Ataş illustrates the intersection between individual memory and
collective cultural heritage, while emphasizing both the fragility of local musical traditions and the
urgent need for their preservation. This study aims to contribute to the documentation and archiving
of rural musical productions, which have remained largely invisible within mainstream cultural
and academic narratives. (Bu çalışma, Ordu ili Gürgentepe ilçesine bağlı Okçabel köyünde yaşamış olan mahalli icracı Kemal Ataş’ın müzik pratiğini, yaşam öyküsünü ve kaval icralarını etnografik bir perspektiften incelemektedir. Yerel müzik kültürünün önemli taşıyıcıları olan mahalli icracıların, kültürel belleğin sürdürülebilirliği açısından oynadıkları rol, çalışmanın temel problem alanını oluşturmaktadır. Sözlü kültür ortamında yetişmiş olan Kemal Ataş’ın müzikal mirası, oğlu Ferhat Ataş ile yapılan yarı yapılandırılmış görüşmeler, arşiv niteliğindeki ses kayıtları ve bu kayıtlardan elde edilen tematik ezgi kesitleri belgelenmiştir.
Araştırmada nitel araştırma yöntemi benimsenmiş; veri toplama sürecinde görüşme ve doküman inceleme tekniklerinden yararlanılmıştır. Görüşme verileri betimsel analiz yöntemiyle değerlendirilmiş; icra kayıtları dijital ortama aktarılmış ve notaya alınarak repertuar yapısı ortaya konmuştur. Elde edilen bulgular, Kemal Ataş’ın yalnızca bir icracı değil, aynı zamanda geleneksel çalgı yapımı bilgisini kuşaktan kuşağa aktaran bir zanaatkâr olduğunu göstermektedir. Ataş’ın çalgı yapım sürecinde kullandığı malzeme türleri, icra ettiği ezgilerin yapısal özellikleri ve müziği icra ettiği sosyal ortamlar, yerel müzik kültürünün çok katmanlı yapısını ortaya koymaktadır.
Sonuç olarak, Kemal Ataş örneği üzerinden bireysel hafıza ile toplumsal belleğin kesişim noktaları belgelenmiş, yerel müzik kültürünün kırılgan yapısı ve korunma gerekliliği vurgulanmıştır. Çalışma, görünürlüğü sınırlı kalan kırsal müzik üretimlerinin belgelenmesi ve arşivlenmesine yönelik bir katkı sağlamayı amaçlamaktadır.)

Zile; siyasi, dini ve kü ltü rel açıdan Antik Çağ Anadolü tarihine damğasını vürmüş çok o nemli olaylara ev sahipliğ i yapan kadim bir yerleşmedir. Nitekim, Hititler Do nemi'nde Anziliya, Antik Çağ 'da Zela, ğü nü mü zde ise Zile olarak adlandırılan bü yerleşme, kadim ğeçmişini halen isminde taşımakta ve yaşatmaktadır. Yerleşmenin dini kimliğ i, Hititler Do nemi'nde bir "kü lt merkezi", Antik Çağ 'da (Pers, Hellenistik ve Roma do nemlerinde) ise bir "tapınak devleti" olmasından ileri ğelmektedir. Bü sü reçte so z konüsü yerleşme; siyasi, dini ve kü ltü rel bakımdan ilk bü yü k değ işimi, Persler'in Anadolü eğemenliğ iyle bağ lantılı olarak, büranın Persler tarafından ele ğeçirilmesiyle birlikte yaşamaya başlamıştır. Bü dürüm Strabon'dan o ğ rendiğ imize ğo re, Zela'da Persler'in bir hileyle Sakalar'ı yenmesiyle ilğilidir. Persler bü zaferi, tanrıçaları Ana hita /Anaı tis'e borçlü oldüklarını dü şü ndü kleri için ona karşı minnettarlıklarını, büğü nkü Zile Kalesi Ho yü ğ ü 'ne karşılık ğelen Semiramis Tepesi ü zerine ona bir tapınak inşa ederek ve o zafer ğü nü nü de bir festivale do nü ştü rerek ve Sakaia olarak adlandırarak ve yine bü tanrıçaya adayarak ğo stermek istemişlerdir. Gü nü mü zde halen dü zenlenen Zile Panayırı'nın ko keninin bü Sakaia Festivali oldüğ ü dü şü nü lmektedir. Bü makalede konü, bo yle bir bağ lantının olüp olmadığ ını ortaya çıkarma amacı doğ rültüsünda, ilk kez Antik Çağ merkezli bir şekilde ele alınmış ve bü festivalin Zela'da ortaya çıkışından ğü nü mü ze kadar tarihte izlerinin takip edilebildiğ i bir kapsamda değ erlendirilmiştir. Neticede, Zile Panayırı'nın Sakaia Festivali'nin değ işime ve do nü şü me üğ ramış bir üzantısı oldüğ ü anlaşılmıştır.

İnsanoğlu için birlikte yaşam merkezi olan şehirler, insanoğlunun güvenliği ve  ihtiyaçlarını sağlamak, insanoğluna kaliteli bir yaşam sunmak, gündelik ve sosyal ihtiyaçlarını karşılamak amacıyla ortaya çıkmışlardır. Bu nedenle şehirler ortaya çıktıkları ilk günden itibaren insan yaşamında önemini daima korumuştur. Tarih boyunca hüküm sürmüş büyük Türk devletlerine baktığımızda Türkler bu amaçlar doğrultusunda ya kendi şehirlerini kurmuşlar ya da stratejik açıdan önemli gördükleri şehirleri uzun mücadeleler sonucunda kendi bünyelerine katmışlar, geliştirmişler ve katkılarını yapmışlardır. Türkler tarafından kurulan devletlerden Asya Hun Devleti'nde olduğu gibi Kök Türk Devleti de söz konusu olduğu o zaman bu devlet döneminde şehirler inşa edildi mi veya tarımla uğraşıldı mı sorularına cevap vermek ve onların hangi hayat tarzını tercih ettiklerini belirli bir sistemin içine dahil edememek her zaman sorun teşkil etmiştir. Türkleri araştıran yabancı ilim insanları ortaya çıkan bu karmaşık durumu açıklığa kavuşturamadıkları için aralarında daima sonu gelmeyen tartışmalar yaşanmıştır. Yabancı ilim insanları arasındaki tartışmaların başlıca ve en önemli nedenlerinden biri yerleşik hayatı benimsemiş milletler tarafından Türklerin hayat tarzı olan konargöçerliğin bir milleti geri bırakan, medeniyetten uzaklaştıran, sürekli göç eden, şehirciliği ve tarımı bilmeyen bir yaşam tarzı olarak algılanması , görülmesi ve lanse edilmesi etkili olmuştur. Türk tarihini araştıran, inceleyen bazı ilim insanlarının Türklerin hayat tarzı ile ilgili Çin kaynaklarına dayanarak ileri sürdüğü görüşler genel kabul görmüştür ve bu konu hakkında birçok eser kaleme alınmıştır.

ÖZET
—Neşet Ertaş’ın poetik ontolojisi, “ondan ayrı mekân kurmamak” ilkesinde kristalleşir: mekân, koordinat değil ikrarın evidir. “Evvelim–ahir” diyaloğu zamanı doğrusal akıştan çıkarıp reprise ile ritüel döngüye çevirir; her dönüş, anlamı karar sesi = ev ilkesinde sabitler. Bozlak prosodisi—hece, durak, vurgu—etik bir mimari kurar: yıkmadan kurmak. Hafıza, çokluk çağında dağılmak yerine monolit bir eksende berraklaşır; risk kırılganlık, armağan derinliktir. Aşk burada yalnız duygulanım değil, bir episteme üretir: bilgi, nötr bakıştan değil, bağlılıktan doğar; delil, ritimde ve tekrarın tutarlılığında görünür. Batın/zahir aynası içle dışı aynı isimde buluşturur; şehir için ders şudur: kamusal mekân, sözün ağırlığını taşıyabildiği ölçüde şehirdir. Son kertede türkü, estetikte etiğin, seste sözün, hatırada mekânın birleştiği bir çekirdek sunar: karar perdesi kaçmıyorsa, ev yerindedir; ikrar tazeyse, zaman yeniden başlar.
—
SUMMARY
—Neşet Ertaş’s poetic ontology crystallizes in the principle of “not building a place apart from the beloved”: place is not a coordinate but the house of pledge (ikrar). The “evvel–ahir” (first–last) dialogue releases time from linear flow and, through reprise, turns it into a ritual cycle; each return anchors meaning in the axiom final (karar) tone = home. The bozlak’s prosody—syllable, caesura, accent—raises an ethical architecture: building without breaking. Memory, instead of scattering in an age of multiplicity, clarifies along a monolithic axis; the risk is fragility, the gift is depth. Here love is not merely affect but an episteme: knowledge springs not from neutral gaze but from commitment; evidence appears in rhythm and the consistency of return. The batın/zahir mirror unites inner and outer under the same name; the civic lesson is clear: public space is a city only as much as it bears the weight of the word. Ultimately, the türkü fuses ethics in aesthetics, voice in word, and memory in place: if the final tone holds, the home stands; if the pledge is fresh, time begins again.

This study examined the role of music in blending the Abagusii culture across prehistoric and modern periods. The study was grounded in sociocultural theory by Lev Vygotsky, which posits that an individual's intellectual growth cannot be detached from the cultural and societal environments, in appreciating the distinct cultures that model diverse intellectual abilities and learning episodes. This ethnographic study utilised a multi-method research approach and employed a multi-method approach and comparative analysis. A sequential design in participatory research was used to assemble data through coding of interviews and observations. Thematic data analysis of the digital ethnography interviews and observations was applied to the extensive comparative ethnographic data and that from the wider spectrum of persons and groups predisposed to the Abagusii ethnic group. The study upheld moral and ethical principles in ethnographic data gathering and ensured that its data retained its original theme and context. The study's conclusions indicate that the Abagusii use music in the prehistoric and modern periods as a potent medium to articulate, exhibit and communicate culture at the same time, vocalising cultural preservation for posterity.

Studie se zabývá sbírkou kramářských tisků Ignáce Tabarky z Rymic na základě korespondence tohoto sběratele a přírůstkových knih muzeí, které obsahují kramářské tisky z jeho sbírky. Pozornost je věnována především rozsahu, utváření, tematické profilaci a organizaci sbírky, kontaktům Ignáce Tabarky s dalšími sběrateli a osudům sbírky do dnešní doby. Studie ukazuje, jaké jsou možnosti poznání sbírek kramářských tisků, které nezůstaly zachovány pohromadě, a zároveň jak ovlivňují soukromé sbírky kramářských tisků podobu muzejních sbírek v České republice.

logia: «Canvis de paradigma en la recerca musicològica» (Barcelona, 26-29 d'abril de 2022). Aquesta presentació fa una reflexió sobre els objectius del congrés, tot posant el focus en el principal repte plantejat: la presa de consciència sobre els canvis de paradigma en la recerca musicològica, uns canvis de paradigma que són ja una realitat en el panorama internacional i que, en bona manera, comencen a ser-ho també a casa nostra.

This study discusses the changing role of music informants in the printed collections of Greek folk music from the mid-nineteenth to mid-twentieth century. The earliest collections do not even include the informants' names, the focus being laid on the information (the ethnographic material) per se. Even in the early-twentieth century, we know little of the sporadically named informants, such as their education or experience. The transfer of information was often carried out with no official permission and financial returns. This study examines the stages of a transformation, from the informant's anonymity to their moderate appreciation and final rehabilitation.
Study the past if you would define the future (Confucius)

Mirasis -though they are not Gujjars but they are the keepers of the rich tribal heritage of the Gujjars-Bakarwals. They  practice oral lore in  Gojri by memorization and pass on the oral history and traditions of the tribes to the next generation. This includes the family tree, clan history, and the history of the Gujjar tribe, among other related information. During family ceremonies, festivals, and other rituals, the Mirasis showcase their skills as entertainers through their excellent communication, humor, wit and sharp memory. They remember hundreds of folk songs, folk tales, legends and stories of Gujjar heroes, which they efficiently transfer to the next generations in the form of long poems called 'Bar' or 'War,' passing them down from father to son and grandson and so on.

Azerbaycan tasavvuf felsefesi dünya felsefe tarihinin ayrılmaz bir parçasıdır. Tasavvuf tarihi Azerbaycan mutasavvıflarının faaliyetleriyle zenginleşmiştir. Makalede ilk kez Azerbaycan'da var olan tasavvuf müziği geniş bir şekilde araştırmaya dahil edilmektedir. Rifai, nakşibendi ve diğer zikir müzikleri ilk kez incelenmiştir. Azerbaycan Tasavvuf müziğinin birtakım sorunları hala çözülememiştir. Bu sorunların araştırılması için bu müzik türünün kökeni, tarihi ve icra kurallarının araştırılması gerekmektedir. Araştırmanın temel amacı çağdaş Azerbaycan'da yeni oluşan veya uzun yıllardır gizlice faaliyet gösteren tasavvuf müziğini araştırıp ortaya çıkarmaktır. Araştırma sırasında tasavvufla ilgili literatür örneklerine başvurulmuştur, zikr törenlerine katılarak müzik örnekleri toplanmıştır. Aynı zamanda mutasavvıf Fahreddin Salim'in, “Savalan” grubunun bestelediği eserler de incelenmiştir. Ayrıca YouTube platformundan da bazı müzik örnekleri alınmıştır. Araştırma sırasında, günümüzde tasavvuf müziğine olan ilginin sadece kültürel ortamda kaldığı, zikir töreni aracı olarak önemini yitirdiği sonucuna varılabilir. Ayrıca farklı kaynaklardan topladığımız müzik örnekleri arasında biçim açısından bir benzerlik yok ancak şiirsel metin açısından aynı felsefi düşünce açıkça görülüyor. Azerbaycan'da tasavvuf müziği tarihsel olarak bastırılmış ve hafızalardan silinmiştir. Bu konu araştırmacılar tarafından daha kapsamlı olarak incelenmeli ve yeniden güncellenmesi gerekmektedir.

Cumhuriyet döneminde halk müziğinin derleme, kurumsallaşma ve sistemleşme süreçlerinin yürütücüsü olan Muzaffer Sarısözen, bu müziğin teori ve uygulama alanlarındaki pek çok yapısal unsurunun şekillenmesinde de etkin ve belirleyici olmuştur. Sarısözen'in eylem, söylem ve yaklaşımları, radyo geleneği içerisinde, eğitim kurumlarında ve halk müziğinin icra ve aktarım faaliyetlerinin gerçekleştirildiği bütün toplumsal alanlarda takip edilmiş ve örnek alınmıştır. Kurucu ve şekillendirici figür olarak büyük bir öneme sahip olan Sarısözen'in belirli konulardaki fikir ve yaklaşımları ise zaman zaman eleştiri konusu olmuştur. 19. yüzyılın başlarından döneminden günümüze kadar sosyal ve kültürel alanlarda büyük değişimlere sebep olan Batılılaşma süreci, yarattığı kültürel boyuttaki hegemonya sebebiyle Sarısözen'in halk müziği meselelerini ele alışını ve çeşitli konulardaki fikir ve yaklaşımlarını da önemli derecede etkilemiştir. Sarısözen, çeşitli gazete ve dergilerde halk müziği üzerine yazdığı inceleme yazılarının bir bölümünü, cumhuriyetin müzik politikalarının etkisiyle halk müziği ve çok seslilik arasındaki ilişkiye ayırmış, halk müziğinde çok sesliliğin varlığını kanıtlamaya çalışmıştır. Başlı başına kültürel hegemonyanın etkisiyle ortaya çıkan bu durum hem Sarısözen'in halk müziği için taşıdığı önem hem de hegemonya inşasında aydınların rolü düşünüldüğünde, Sarısözen'in, içinde bulunduğu düşünce kalıplarının ve bakış açılarının Batı merkezcilik açısından sorgulanması gerektiğine işaret etmektedir. Bu bağlamda araştırmada, Sarısözen'in halk müziğiyle ilgili kaleme aldığı çeşitli yazılardaki fikirlerinin; antropolojik ve arkeolojik özselleştirme, self-oryantalizm ve müziksel evrim-ilerleme kavramları gibi kültürel Batı hegemonyasına bağlı gelişen unsurlar açısından ele alınarak eleştirel ve yorumlayıcı bakış açısıyla çözümlenmesi amaçlanmıştır. Söz konusu yazıların incelenmesinde, metinleri tarihsel, sosyal ve kültürel bağlama göre yorumlayarak makro ölçekte çıkarımlar yapma imkânı sağlayan söylem analizi yönteminden yararlanılmıştır. Elde edilen bulgulara göre, Sarısözen'in bu yazılarda yaptığı tespit, yorum ve çıkarımlarda, Batılılaşma sürecine bağlı olarak oluşan Batı üstünlüğüne dayalı kültürel hegemonyanın ve yine bu sürecin yarattığı ideolojik ve bilimsel konjonktürün izleri görülmektedir. Sarısözen, kendisine göre Batı müziğinin gelişmişliğinin göstergesi olan çok sesliliğin aslında halk müziğinde çok daha önceden var olduğuna yönelik Türk tarih tezinden beslenen özselleştirmeci fikirler taşımış, müziksel değeri Batılı ölçütlere göre belirleyerek halk müziğini bu ölçütler üzerinden sınayan self-oryantalist tutumlar sergilemiş ve yine Batı merkezci düşüncenin yansıması olarak tek sesli müziklerin ilerleme ile çok seslilik evresine geçeceğini öngören müziksel evrim düşüncesini benimsemiş durumdadır. Bu bulgulardan hareketle Sarısözen'in, bir taraftan halk müziğinin derleme, arşivleme, icra, eğitim ve aktarım gibi faaliyetleri adanmışlık içerisinde gerçekleştirirken diğer taraftan döneminin müzik çevresinde egemen olan ve kendisi gibi birçok kişinin müzikle ilgili meselelere "pür bilimsel" bakabilmesini engelleyen Gökalpçı, pozitivist, self-oryantalist, evrimci ve ilerlemeci görüşlerin tesiri altında kaldığı sonucuna ulaşılmıştır. Anahtar Kelimeler Muzaffer Sarısözen, özselleşirme, müziksel evrim, self-oryantalizm, Türk halk müziği.

This paper explores how the Bhakti and Sufi mysticism movements have historically cultivated secular spirituality, providing a shared spiritual framework that transcended or expanded religious boundaries to foster communal harmony and continues to do so between Hindus and Muslims in contemporary South Asia. By emphasizing personal devotion, ethical behaviour, and social inclusivity, these traditions challenged religious orthodoxy and social hierarchies. Through a detailed examination of their historical contexts and contemporary fieldwork in Bihar and Kashmir, this study demonstrates how the teachings and practices of Bhakti and Sufi mystics remain essential for promoting interfaith dialogue and communal harmony. By situating these traditions within broader academic debates on secular spirituality, the paper underscores their ongoing relevance in addressing modern challenges of religious polarization and social cohesion.

Araşdırmaçıların bir çoxu «Koroğlu» dastanını Cəlalilər hərəkatını öyrənmək baxımından əvəzedilməz mənb 0 2 5 9 hesab edirlər Bu da, təbii ki, XVI-XVII əsrlərd 0 2 5 9 baş vermiş siyasi olayların dastanda təsvir edilən hadisələrl 0 2 5 9 bu v 0 2 5 9 ya digər dərəcəd 0 2 5 9 səsl 0 2 5 9 şməsindən qaynaqlanır. 0 2 5 9 Bel hesab edilir ki, «Koroğlu» dastanını 0 2 5 9 ümumi kontekstd n-XVI-XVII 0 2

This research paper entitled "American Idiot": Examining Readers' Subject Position in One of Green Day's Music Albums is aimed at investigating the ways by which the sixth album of Green Day, American Idiot (2004), ideologically positioned the implied readers in opposite to the USA political agenda. A qualitative descriptive study is employed in this present study. In analyzing the album, which consists of 13 songs, three theoretical frameworks are used: ideological analysis by John Lye (1997), context framework by Adrian Beard (2001), and John Stephens' (1992) narrative transactions-where he locates the implied readers as the ideological function of a text. By having those frameworks within the analysis, the study discovers five socio-cultural issues, recognized as an attempt to position the implied readers in opposite the US political agenda in Bush administration. These assumptions within the issues known as a subject position are ideologically offered to the readers or the implied readers through narrative aspects; point of view and narrator.

Ralph McTell is the leading singer guitarist of his generation and has built up a formidable catalogue of his songs and poems. His reputation is for carefully constructed songs with sensitive lyrics and exquisite melodies. In this book, Michael Grenfell explores the way biography features in Ralph’s work: his own background in post-World War 2 London, those that surrounded him in his personal life experiences, his contemporaries, and artistic influences. It also considers the various ‘biographies’ that Ralph created to carry his songs: Michael in the Garden, Dancing Doreen, Clown and others. There are also the real life biographies he used in interpreting life’s experiences: Dylan Thomas, Sylvia Plath, Hermann Hesse.
The chapters are based on Ralph’s work and personal life story, and include extensive extracts from interviews conducted by the author with him. This also includes the musical styles that inspired him: especially Blues and Ragtime players from the past.
The account is set within the times when Ralph grew up and his early years in London, Paris and Cornwall.
The book also includes three Interludes, which focus on different accounts of creativity. Interlude 1 probes the sociology and philosophy of aesthetics for artist and audience. Interlude 2 delves into the psychology of the creative individual – the pros and cons. Finally, Interlude 3 moves into a more esoteric direction in exploring the invisible forces, which shape artistic expression. The Interludes are intended to complement the particular example of Ralph and his work and open up features that we may all share. 
This highly original take on biography allows one example to discuss a range of social, psychological, cultural and aesthetic issues. How we respond to this coverage in fact is shaped by our own biographies. Hence the book’s title Parallel Lives: to indicate how we are each unique but living lives in relation to each other in several ways.
What emerges is a highly engaging account, which ends up examining the impact of music and the arts on their audience – indeed the nature of biography itself and the place of art and culture within it.

Ralph McTell states:

‘It has been a revealing and emotional experience working with Mike Grenfell on this book. His scholarly interpretations and evaluations of my songs are most gratifying and I have been moved very much by what he has written. His perceptiveness and conclusions are illuminating to me’.

Статья посвящена жанровому статусу и типологическим особенностям послевоенной женской лирики, представленной в черкесском (адыгском) фольклоре значительным корпусом текстов.
The article is devoted to the genre status and typological features of post-war female lyrics, represented in Circassian (Adyghe) folklore by a significant corpus of texts.

In this paper I examine the resilience of analog formats in the age of digital music and streaming services through the understudied lens of preservation. Drawing on data from years of multi-sited ethnographic research with independent labels that currently produce and circulate cassette tapes in Argentina, I examine the paradoxical practices through which the significance of digital music is preserved using old-finicky and prone to decay-technologies. I show how independent labels work as grassroots archives and authorities of remembrance, nurturing collective frameworks of memory against local and widespread individualizing contexts of music circulation and storage.

The Arbëresh community, descendants of Albanian emigrants who settled in Southern Italy between the 15th and 18th centuries, has preserved a distinct linguistic and cultural heritage over the centuries. Despite their deep integration into Italian society, the Arbëresh has maintained its language, traditions, and customs. Since the 19th century, to reach a broader audience, Arbëresh poets have adopted bilingualism, incorporating both Albanian and Italian within their literary works to preserve the archaic form of Albanian. This paper examines the role of literature, specifically poetry, in preserving the Arbëresh language in the context of globalization. The global dominance of major languages and cultural homogenization poses significant threats to the survival of minority languages. However, literature has proven to be a powerful tool for preserving linguistic diversity, serving as a medium through which cultural memory, identity, and heritage are transmitted. Through an analysis of contemporary Arbëresh poetry, this study explores how literature safeguards the Arbëresh language and culture while fostering a continued sense of identity within the community. The paper also discusses the challenges and opportunities facing Arbëresh literature in a globalized world, underscoring its role in preserving the linguistic and cultural heritage of the Arbëresh people. It highlights how Arbëresh's literature, by maintaining a connection between the past and the present, plays a crucial role in language survival and promoting intercultural dialogue in an increasingly globalized context.

A magyar etnomuzikológia számára különösen fontos a török népzenék régi rétegeinek megismerése, hiszen tudjuk, hogy egyes török népek nagy szerepet játszottak a magyarság, a magyar kultúra és ezen belül a népzene kialakulásában. Szerencsére módszereit, eredményeit és színvonalát tekintve a magyar összehasonlító zenetudomány kiemelkedik a világ analitikus összehasonlító népzenekutatásából, hisz olyan nevek indították, mint Bartók Béla és Kodály Zoltán. A rokonnépek zenéjének vizsgálatát Bartók Béla majd Vikár László is a finnugor népek között kezdte, majd mindketten a törökség felé fordultak. A kutatáshoz kezdettől fogva társult a helyszíni gyűjtés, Bartók Béla 1933-os anatóliai gyűjtésétől, Vikár László és Bereczki Gábor 1957-1978 közötti Volga-Káma vidéki kutatásán át 1987-tól a magunk ázsiai kutatásaival. Távlati célunk egy Volga-Káma vidéktől Anatóliáig terjedő, keletre is elnyúló, részben török nyelvű terület zenéjének összehasonlító igényű feltérképezése lett, és annak a vizsgálata, hogy vannak-e közös vonásai az itt élő népek valamint a magyarok népzenéjének. Előző OTKA pályázataink során hatalmas, 7000 dallamos anyagot gyűjtöttünk törököktől, azeriktől, karacsájoktól, kazakoktól, kirgizektől, bektasiktól, és számos könyvet jelentettünk meg a törökországi törökök, az azerik és a kazakok népzenéjéről angol, magyar, illetve azeri nyelven. Ezt a kutatást folytattuk 2007-2011 között. A fő cél a gyűjtés folytatásán kívül két megkezdett kutatás befejezése volt: két hiánypótló monográfia megírása a törökországi bektasik valamint a törökországi karacsájok népzenéjéről. Vállalkozásunk hiánypótló, mert sem a bektasik sem a karacsájok népzenéjéről eddig mág nem jelent meg tudományos igényű zenei monográfia, sőt köttákat tartalmazó könyvek sem igen. Mindkét török csoport zenéje a nagy kutatáson belül is fontos. A Törökország európai részén élő bektasi törökök vallási és népi dallamainak feltárásával Anatólia zenéjét köthetjük össze a román és a magyar területek zenéivel. Az észak-kaukázusi karacsájok népzenéjének speciális magyar vonatkozását pedig az adja, hogy e nép és a magyarok ősei évszázadokig együtt éltek a Kazár Birodalom keretén belül. A bektasi monográfia 2009-ben megjelent az Akadémiai Kiadónál. A karacsájok zenei monográfiáját is elkészítettük, ez 2012-ben fog megjelenni, amire egy 2011-ben elnyert OTKA publikációs pályázatunk ad biztosítékot. Hadd emeljük ki, hogy publikációink döntően saját magunk által gyűjtött, korábban mások által nem publikált, és nagy részben korábban még nem fel nem gyűjtött anyagokon alapulnak. A karacsáj és bektasi kutatás során gyűjteményünket további cca. 3000 dallammal gyarapítottuk, ezzel zenei gyűjteményünk világviszonylatban is jelentőssé vált. A bektasi és karacsaj gyűjtéseken kívül számos kisebb gyűjtést is végeztünk, többek között Mexikóban, Kazahsztánban és Azerbajdzsánban, 2011-ben pedig egy 4-hetes türkmén kutatóutat végeztünk. Ez utóbbinak és a további türkmén kutatóutaknak nagy jelentősége lesz a törökországi népzene török és nem török szálainak elválasztásában valamint és a magyar népzene keleti kapcsolatainak további tisztázásában.

Magyar kutatók számára különösen fontos a török népzenék régi rétegeinek meg ismerése, hiszen tudjuk, hogy bizonyos török csoportok meghatározó szerepet ját szottak a magyarság, a magyar kultúra és népzene kialakulásában. Nem véletlen hát, hogy a magyar kutatók szerepe kiemelkedő a török népek és a magyarok nép zenéjének összehasonlító vizsgálatában. Bartók 2 egy kisebb anyagból vont le máig érvényes következtetéseket a Volga vidék, valamint Anatólia népzenéjéről, Kodály 3 elsősorban a cseremiszek és a csu vasok népzenéjét tanulmányozva bővítette ki a párhuzamokat. Vikár 4 és Vikár-Bereczki 5 hatalmas helyszíni gyűjtéseivel a cseremisz, a csuvas, a mordvin, a tatár és a baskír népzenéről adott képet. Vargyas 6 a kiadványok áttanulmányozásával a Volga-vidék népzenéjének nagyívű történeti áttekintését végezte el. Szabolcsi 7 ha talmas mennyiségű dallam átnézése után, még szélesebb nemzetközi zenei össze függéseket mutatott ki. Dobszay 8 illetve és Dobszay-Szendrei 9 újszerű szemlélettel kezelve a magyar anyagot, a magyar sirató és a pszalmodizáló stílus nemzetközi vonatkozású etnomuzikológiai áttekintését valósították meg. Paksa 10 kis hangter jedelmű, öt-és négyfokú dalaink keleti rokonságát vizsgálta. Ebbe a folyamatba illeszkednek be 1988-1993 közötti anatóliai gyűjtéseim, valamint kazak, azerbaj dzsáni és kaukázusi kutatóútjaim is. Ennek a nagyszabású munkának most egyetlen szeletét vizsgálom csak, azt, hogy léteznek-e hasonló magyar és anatóliai dallamtípusok, és ha igen, milyen fokú 1

Traditional villages serve as vital repositories of agricultural civilization, preserving cultural and spatial heritage. In the context of rural urbanization, understanding and revitalizing the spatial elements and cultural environments of traditional villages is essential. This study focuses on Katu villages, utilizing pattern language theory and landscape gene analysis to construct a framework for decoding spatial elements and guiding restoration efforts. The research identifies three key findings: (1) the spatial landscape of Katu villages can be systematized into a pattern language, encompassing distinct spatial elements such as gươl (communal houses), stilted houses, and ceremonial zones, along with principles of spatial order, scale, and cultural context; (2) three primary landscape genes-dominant architecture, overall spatial layout, and cultural practices-are identified as critical to preserving the historical and cultural essence of Katu villages; and (3) an integrated restoration mechanism is proposed, addressing weak points in spatial structures, reorganizing hierarchical connections to ensure cohesion within the circular pattern, and repairing large-scale elements such as housing clusters and sacred landscapes. This approach provides a sustainable pathway for protecting the cultural identity and spatial integrity of traditional Katu villages, ensuring their resilience in the face of modernization.

Το βιβλίο Παιδικά πολεμικά παιχνίδια και εθνικές ιδέες στις αρχές του 20ού αιώνα (εκδ. Ασίνη) εξετάζει πώς αντικείμενα της παιδικής καθημερινότητας — από μολυβένια στρατιωτάκια έως σχολικά αναγνώσματα και περιοδικά — καλλιέργησαν μιλιταριστικά πρότυπα και συνέβαλαν στη διαμόρφωση συλλογικών ταυτοτήτων.

This article investigates the performative relationship among folklore, the market, and the state through an analysis of the politics of Bulgarian wedding music. In the socialist period wedding music was condemned by the state and excluded from the category folk but was adored by thousands of fans as a counter-cultural manifestation. In the post-socialist period wedding music achieved recognition in the West but declined in popularity in Bulgarian as fusion music's, such as chalga (folk/pop), arose and as musicians faced challenges vis-?-vis capitalism. As the state withdrew and became weaker private companies with profit-making agendas arose. Although it inspired chalga, wedding music began to be seen in contrast to it, as folk music. Recently, fatigue with chalga and nationalistic ideologies are revitalizing wedding music.

Many countries in the 19th century wanted to assert their national character, with music being one way of doing so. We can distinguish four ways in which in music national identity can be established: composers may use the folk music, they can base their music on folk music, they can set the words of a nation to music and the last possibility can be found in the idea of an association of certain music with specific events and festivities in a tradition. The author discusses in detail these four possibilities of the establishment of Englishness in music in 20th century.

The paper details the poetic content of the Koryak-Nymylan personal songs known as ӄuliӄul. The data for this study are the recordings of the musical works performed by Lidia Innokentievna Chechulina (Koryak name Ӄyvnyutaӈav) taken at different times. These are fourteen songs, with one being sininkin ӄuliӄul (own personal song) and the others paninatyn ӄuliӄul (ancestral songs). The repertoire of Lidia Innokentievna includes songs from three generations of her family (grandfathers, parents, and siblings). The analysis explores the vocabulary of personal songs, indicating a sacred view of this musical phenomenon within Koryak-Nymylan culture and validating the accuracy of the song performance. The authenticity of the performed song is confirmed by the verbs ivi (spoke) and direct speech constructions. Invocation of ancestors during song performance is conveyed by the verb myng'eŋavyn (to call). The frequent use of the phrase gyrap myntalivyn (we will roll the melody downhill) is attributable to the transmission of ancestral songs from hilltop burial sites. Ancestors are portrayed as a defined group, denoted by paninalu (ancestors) and ӄaytumguv'v'e (relatives), residents of Koryak settlements (for example, Alutalu (residents of Olyutorka), and as the environment of a particular ancestor, with his name used in plural). Furthermore, the texts reveal the song performance context (tambourine playing, dancing, exquisite traditional women's attire, and exuberant spirits) alongside vivid auditory and visual representations of the surrounding world of Kamchatka. Typical characteristics include the usage of interjections, exclamations, reindeer herding vocalizations, chanted syllables and words, and onomatopoeia imitating animal and bird sounds. Keywords NorthEastern Paleoasiates, Koryaks, Nymylans, Alutorian language, indigenous peoples of Kamchatka, Koryak folklore, the musical tradition of the Koryaks, personal songs, ethnomusicology

This article concentrates on 'Thirattu songs of Puberty Ceremony' of kanikkararwho are living in Southern part of Travancore at Kanniyakumari District. Particularly the tribal has life circle rituals in many phases. Puberty ceremony one among them. Usually Thirattu songs will be singing during the puberty ceremony. The ceremony marks the transition of girls who have reached puberty and are now mature enough to understand their responsibilities towards family and society. While celebrating this ceremony the Kanikkarar women use to sing 'Thirattu Songs' for the matured girl. The singing women mostly belongs matured girl's relatives. They belong the siblings of matured girl's father and other relatives. There will be at least 5 to 7 women who sings 'Thirattu Songs'. Kanikkarar tribal has life circle rituals like the ceremony of birth, puberty, wedding, baby shower and death. It is not possible to research all their ceremonies the researcher has chosen only about the puberty ceremony. There are songs which is called 'Thirattu' takes place in puberty ceremony. Particularly those songs will be taken place in 'Araikkalyanam' ritual of puberty rite. Arikkalyanam is part of a ritual followed during the puberty ceremony. Each and every line of 'Thirattu songs'has been concentrated and explained in detail by using 'Discourse analysis'. The areas of research are Thachamalai and Thottamalaiwhich comes underVilavancodeTaluk near Pechipparaiat Kanniyakumari District. The main objective of this study is to get knowledge one of the puberty ceremony and its Thirattu songs of kanikkarar tribal.

este número se terminó de imprimir en junio de 2023, con un tiraje de 500 ejemplares, impresión tipo offset, con papel couché de 120 grs. para los interiores y cartulina sulfatada de 12 pts. para los forros. El contenido de los artículos es responsabilidad de los autores y no refleja necesariamente el punto de vista de los árbitros y del editor. Se autoriza la reproducción de los artículos (no así de las imágenes e ilustraciones) con la condición de citar la fuente y se respeten los derechos de autor.

Pedro Echevarría Bravo (1905-1990) fue un destacado musicólogo y folclorista español del siglo XX. Los estudios sobre su trayectoria y aportaciones son, sin embargo, todavía escasos, y su nombre no figura en los principales diccionarios de referencia sobre música. Tras una larga trayectoria como director de bandas de música y una intensa labor de recopilación folclórica en Castilla-La Mancha, en 1953 Echevarría se trasladó a Galicia, en donde continuó su trayectoria profesional hasta c. 1965 como director de las bandas de A Coruña (1953-1954) y de Compostela (1954-1965). Su etapa gallega y, en particular, sus investigaciones y recopilaciones de folclore gallego han pasado prácticamente inadvertidas. Entre 1951 y 1960 Pedro Echevarría recopiló centenares de canciones de tradición oral en Galicia. Su trabajo fue becado por la Sección de Folclore del antiguo Instituto Español de Musicología y se enmarcó en el pionero proyecto de recopilación y estudio de música tradicional que esta institución llevó a cabo por toda España entre 1944 y 1960 –las llamadas “Misiones Folklóricas”– (proyecto con el que el folclorista ya había participado durante su etapa en La Mancha). Echevarría llevó a cabo ocho misiones folclóricas en Galicia; los materiales resultantes de ese trabajo pueden consultarse actualmente a través de la plataforma digital de libre acceso Fondo de Música Tradicional IMF-CSIC. A través de una variedad de documentos, este artículo reconstruye la estancia en Galicia de Echevarría en los años cincuenta y sesenta y resitúa su investigación folclórica en el contexto de la recopilación de música de tradición oral gallega en el siglo XX.