This paper attempts to highlight the necessity of establishing a connection
between performance and theory in the field of Ottoman Urban Music. In
specific, it is crucial for theoretical thought to have a direct reference to and
depend on interpretative practices and repertoire. In the contemporary theory
of Ottoman Music phenomena, one can witness a contradiction between
the description of Makams and their performance. In this paper, the
phenomena that belong to the wider category of Segah are examined as case
study. Thus, a more functional way of approaching and comprehending the
aforementioned modal phenomena is proposed.
Methodologically, the analytical model that is suggested draws
numerous explanatory examples from masterpieces as well as
historically important renditions (repertorial and improvisational), that
belong to the family of Segah makam.
This paper attempts to highlight the necessity of establishing a connection
between performance and theory in the field of Ottoman Urban Music. In
specific, it is crucial for theoretical thought to have a direct reference to and
depend on interpretative practices and repertoire. In the contemporary theory
of Ottoman Music phenomena, one can witness a contradiction between
the description of Makams and their performance. In this paper, the
phenomena that belong to the wider category of Segah are examined as case
study. Thus, a more functional way of approaching and comprehending the
aforementioned modal phenomena is proposed.
Methodologically, the analytical model that is suggested draws
numerous explanatory examples from masterpieces as well as
historically important renditions (repertorial and improvisational), that
belong to the family of Segah makam.
Primary Language | English |
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Subjects | Music |
Journal Section | Research Articles |
Authors | |
Publication Date | October 1, 2020 |
Submission Date | September 1, 2020 |
Published in Issue | Year 2020 Volume: 3 Issue: 2 |