By Donna A. Buchanan, Margaret H. Beissinger, Kevin Dawe, Gabriela Ilnitchi, Vesa Kurkela, Svanibor Pettan, Ljerka Vidic Rasmussen, Carol Silverman, Martin Stokes, Jane C. Sugarman
Because the early 20th century, "balkanization" has signified the usually militant fracturing of territories, states, or teams alongside ethnic, non secular, and linguistic divides. but the extraordinary similarities came upon between modern Balkan well known tune demonstrate the zone because the web site of a thriving inventive discussion and interchange. The eclectic interweaving of stylistic beneficial properties evidenced by means of Albanian advertisement people tune, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to call a number of, issues to an emergent nearby pop culture circuit extending from southeastern Europe via Greece and Turkey.
While this circuit relies upon older cultural confluences from a shared Ottoman history, it additionally has taken form in lively counterpoint with numerous local political discourses. Containing 11 ethnographic case experiences, Balkan pop culture and the Ottoman Ecumene: track, photo, and nearby Political Discourse examines the interaction among the musicians and well known song forms of the Balkan states through the overdue Nineties. those case experiences, every one written by means of a longtime neighborhood professional, surround a geographical scope that comes with Albania, Bosnia and Herzegovina, Bulgaria, the Republic of Macedonia, Croatia, Slovenia, Romania, Greece, Turkey, Serbia, and Montenegro. The e-book is followed by way of a VCD that includes a picture gallery, sound documents, and tune video excerpts.
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Additional resources for Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea : Ethnomusicologies and Modernities)
As a professor and ensemble director at UCLA Racy transmitted the song to his students, such as ethnomusicologists Scott Marcus (University of California at Santa Barbara) and Anne Rasmussen (College of W illiam & Mary), who in turn have passed it on to their own students and colleagues. M y own first encounter with the song came in this form, when Rasmussen taught it to the M iddle Eastern music ensemble at the University of Texas at Austin, where we were both visiting professors in 1991–92. The Arab version usually adopted by such ensembles, which typically emulate the mixed indigenous and W estern European instrumentation of an early twentieth-century Arab orchestra, or firqah (ud, nai, kanun, riqq, darabuka, def, violin, violoncello, accordion), is often instrumental, features a lively introduction that constitutes a variation of the song, and is rendered over the Arab rhythmic mode maqs ãm (Turk.
As sung by Stratis Rallis. The Guardians of Hellenism, Volume 1: Chios, Mytilene, Samos, Ikaria. Translated from the Greek by Ioannis Tsekouras. Throughout Greece, both Apo kseno and Ehasa mantili are rendered as dance songs. Ehasa mantili is usually set to the lilting, syncopated, 8/8 meter (divided 3–3–2) of the syrtós, which characterizes many Greek tunes. The Ehasa mantili variant seems to have been most widespread in Athens, Smryna, and the Aegean, especially the islands of Mytilene, Aivali, and Erythraea; consequently, its performance style often takes on the Ottoman-inflected character typical of these locales.
Katsarova (1973:124–25) likewise cites two close variants of the same lyrics, also set to the Üsküdara tune, from the islands of Rhodes (in the Dodecanese), published by the Swiss ethnomusicologist Samuel Baud-Bovy in 1935 (Fig. 5) and Skiathos (in the Sporades), published by Georgios Rigas in 1958 (p. 98), illustrating that the song was known throughout the Aegean basin. Yet another close textual variant circulated in Epirus, but to a second tune in makam Hicaz unrelated to either Üsküdara or that in Fig.
Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea : Ethnomusicologies and Modernities) by Donna A. Buchanan, Margaret H. Beissinger, Kevin Dawe, Gabriela Ilnitchi, Vesa Kurkela, Svanibor Pettan, Ljerka Vidic Rasmussen, Carol Silverman, Martin Stokes, Jane C. Sugarman