Translation
BibTex RIS Cite

Müzik Aletlerinin Bir Etnomüzikolojisi: Form, İşlev ve Anlam

Year 2021, Issue: 24, 767 - 776, 01.11.2021

Abstract

Müzik Aletlerinin Bir Etnomüzikolojisi: Form, İşlev ve Anlam

References

  • Abraham, O. ve von Hornbostel, E. M. (1975 [1903]). Studies on the tonsystem and music of the Japanese (G. Kurath ve W. Maim, çev.). Klaus P. Wachsmann, Dieter Christensen ve Hans-Peter Reinecke (ed.), Hornbostel opera mmnia içinde (ss. 1-84). The Hague: Martinus Nijhoff, Vol. I.
  • Arnold-Forster, K. ve La Rue, H. (1993). Museums of music: A review of musical collections in the United Kingdom. London: HMSO.
  • Baily, J. (1977). Movement patterns in playing the Herati dutār. J. Blacking (ed.), The anthropology of the body içinde (ss. 275-330). London: Academic Press.
  • Blacking, J. (1973). How musical is man? Seattle: University of Washington Press.
  • Blacking, J. (1987). ‘A commonsense view of all music’: Reflections on Percy Grainger’s contribution to ethnomusicology and music education). Cambridge: Cambridge University Press.
  • Brincard, M. T. (ed.). (1989). Sounding forms: African musical instruments. New York: American Federation of Arts.
  • De Vale, S. C. (1977). A Sundanese23 gamelan: A Gestalt approach to organology (Yayımlanmamış doktora tezi). Northwestern University, Illinois.
  • De Vale, S. C. (1988). Musical instruments and ritual: A systematic approachd. Journal of the American Musical Instrument Society, 14, ss. 126-60.
  • De Vale, S. C. (1990). Organizing organology. Selected Reports in Ethnomusicology, 8, ss. 1-34.
  • De Vale, S. C. (1991). Musical instruments and the micro-/macrocosmic juncture. T. Yoshihiko vd. (ed.), Tradition and its future in music: Report of SIMS24 Osaka içinde (ss. 255-62). Tokyo: Mita Press.
  • De Vale, S. C. ve Dibia, I. W. (1991). Sekar Anyar: An exploration of meaning in Balinese25gamelan. World of Music, 33(1), ss. 5-51.
  • Dournon, G. ve Arom, S. (1981). Guide for the collection of traditional musical instruments. Paris: The UNESCO Press.
  • Dournon, G. (1992). Organology. Helen Myers (ed.), Ethnomusicology: An introduction içinde (ss. 245-300). London: The Macmillan Press.
  • Dräger, H.-H. (1948). Prinzip einer systematik der musikinstrumente. Basel: Barenreiter-Verlag (Musikwissenschaftliche Arbeiten, Gesellschaft für Musikforschung, Nr. 3).
  • Feld, S. (1982). Sound and sentiment: Birds, weeping, poetics and song in Kaluli26 expression). Philadelphia: University of Pennsylvania Press.
  • Grame, T. C. (1962). Bamboo and music: A new approach to organology. Ethnomusicology, 6(1), ss. 8-14.
  • Grame, T. C. (1972). The symbolism of the “ud”. Asian Music, 3(1), ss. 25-34.
  • Grame, T. C. ve Tsuge, G. (1972). Steed symbolism on Eurasian string instruments. Musical Quarterly, 58(1), ss. 57-66.
  • Hood, M. (1971). The ethnomusicologist. New York: McGraw-Hill.
  • Hornbostel, E. M. von, ve Sachs, C. (1961 [1914]). Classification of musical instruments (A. Baines ve K. P. Wachsmann, çev.). Galpin Society Journal, 34, ss. 3-29.
  • Johnson, H. M. (1993). The Symbolism of the koto: An ethnomusicology of the form and function of a traditional Japanese musical instrument (Yayımlanmamış doktora tezi). University of Oxford, Oxford.
  • Kárpáti, J. (1989). Myth[s] as organological fact[s]: After rereading Dénes Bartha’s “Double Pipe of Jánoshida”. Studia Musicologica, 31, ss. 5-38.
  • Kartomi, M. J. (1990). On concepts and classifications of musical instruments. London: The University of Chicago Press.
  • Lindsay, J. (1979). Javanese gamelan. Oxford: Oxford University Press.
  • Merriam, A. P. (1964). The anthropology of music. Evanston, Illinois: Northwestern University Press.
  • Roseman, M. (1991). Healing sounds from the Malaysian rainforest: Temiar27 music and medicine. Berkeley etc.: The University of California Press.
  • Sachs, C. (1940). The history of musical instruments. New York: W. W. Norton and Co.
  • Schafer, R. M. (1973). The music of the environment. Cultures, 1(1), ss. 15-52.
  • Schafer, R. M. (1992). Music, non-music and the soundscape. J. Paynter vd. (ed.), Companion to contemporary musical thought içinde (Cilt 1, ss. 34-45). London: Routledge.
  • Simonson, L. (1987). A Burmese arched harp (saùng-gauk) and its pervasive Buddhist symbolism. Journal of the American Musical Instrument Society, 13, ss. 39-64.
  • Sorrell, N. (1990). A guide to the gamelan. London: Faber and Faber.
  • Stockmann, D. (1991). Interdisciplinary approaches to the study of musical communication structures. B. Nettl ve P. V. Bohlman (ed.), Comparative musicology and anthropology of music: Essays on the history of ethnomusicology içinde (ss. 318-41). London: The University of Chicago Press.
  • Tatsui, T. N. S. (ed.). (1990). Suikinkutsu no hanashi [A discussion of suikinkutsu]. Tokyo: Kenchiku Shiryô Kenkyû-sha.
  • Tokumaru, Y. (1986). The interaction of orality and literacy in structuring Syamisen28 music. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 110-29). Tokyo: Academia Music,
  • Tsuge, G. (1978). Bamboo, silk, dragon and phoenix: Symbolism in the musical instruments of Asia. The World of Music, 20(3), ss. 10-19.
  • Tsuge, G. (1983). Raiment of traditional Japanese musicians: Its social and musical significance. The World of Music, 25(1), ss. 55-67.
  • Tsuge, G. (1986). Explicit and implicit aspects of koto kumiuta29 notations. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 252-72). Tōkyō: Academia Music.
  • Van Gulik, R. H. (1940). The lore of the Chinese lute: An essay in Ch’in ideology. Tokyo: Sophia University.
  • Wachsmann, K. (1984). Classification. S. Sadie (ed.), The New Grove dictionary of musical instruments içinde (Cilt I, ss. 407-10). London: Macmillan Press.
  • Waterhouse, D. (1986). The logical priority of performance for the analysis of music. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 371-79). Tōkyō: Academia Music,
  • Winternitz, E. (1967). Musical instruments and their symbolism in Western art. London: Faber and Faber.
  • Yamaguti, O. (1986). Music and its transformations in direct and indirect contexts. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 29-37). Tōkyō: Academia Music.
  • Yamaguti, O. (1991). Performance as a historical source in music research. T. Yosihiko vd. (ed.), Tradition and its future in music: Report of SIMS Osaka (the Fourth Symposium of the International Musicological Society) içinde (ss. 153-57). Tōkyō: Mita Press.
Year 2021, Issue: 24, 767 - 776, 01.11.2021

Abstract

References

  • Abraham, O. ve von Hornbostel, E. M. (1975 [1903]). Studies on the tonsystem and music of the Japanese (G. Kurath ve W. Maim, çev.). Klaus P. Wachsmann, Dieter Christensen ve Hans-Peter Reinecke (ed.), Hornbostel opera mmnia içinde (ss. 1-84). The Hague: Martinus Nijhoff, Vol. I.
  • Arnold-Forster, K. ve La Rue, H. (1993). Museums of music: A review of musical collections in the United Kingdom. London: HMSO.
  • Baily, J. (1977). Movement patterns in playing the Herati dutār. J. Blacking (ed.), The anthropology of the body içinde (ss. 275-330). London: Academic Press.
  • Blacking, J. (1973). How musical is man? Seattle: University of Washington Press.
  • Blacking, J. (1987). ‘A commonsense view of all music’: Reflections on Percy Grainger’s contribution to ethnomusicology and music education). Cambridge: Cambridge University Press.
  • Brincard, M. T. (ed.). (1989). Sounding forms: African musical instruments. New York: American Federation of Arts.
  • De Vale, S. C. (1977). A Sundanese23 gamelan: A Gestalt approach to organology (Yayımlanmamış doktora tezi). Northwestern University, Illinois.
  • De Vale, S. C. (1988). Musical instruments and ritual: A systematic approachd. Journal of the American Musical Instrument Society, 14, ss. 126-60.
  • De Vale, S. C. (1990). Organizing organology. Selected Reports in Ethnomusicology, 8, ss. 1-34.
  • De Vale, S. C. (1991). Musical instruments and the micro-/macrocosmic juncture. T. Yoshihiko vd. (ed.), Tradition and its future in music: Report of SIMS24 Osaka içinde (ss. 255-62). Tokyo: Mita Press.
  • De Vale, S. C. ve Dibia, I. W. (1991). Sekar Anyar: An exploration of meaning in Balinese25gamelan. World of Music, 33(1), ss. 5-51.
  • Dournon, G. ve Arom, S. (1981). Guide for the collection of traditional musical instruments. Paris: The UNESCO Press.
  • Dournon, G. (1992). Organology. Helen Myers (ed.), Ethnomusicology: An introduction içinde (ss. 245-300). London: The Macmillan Press.
  • Dräger, H.-H. (1948). Prinzip einer systematik der musikinstrumente. Basel: Barenreiter-Verlag (Musikwissenschaftliche Arbeiten, Gesellschaft für Musikforschung, Nr. 3).
  • Feld, S. (1982). Sound and sentiment: Birds, weeping, poetics and song in Kaluli26 expression). Philadelphia: University of Pennsylvania Press.
  • Grame, T. C. (1962). Bamboo and music: A new approach to organology. Ethnomusicology, 6(1), ss. 8-14.
  • Grame, T. C. (1972). The symbolism of the “ud”. Asian Music, 3(1), ss. 25-34.
  • Grame, T. C. ve Tsuge, G. (1972). Steed symbolism on Eurasian string instruments. Musical Quarterly, 58(1), ss. 57-66.
  • Hood, M. (1971). The ethnomusicologist. New York: McGraw-Hill.
  • Hornbostel, E. M. von, ve Sachs, C. (1961 [1914]). Classification of musical instruments (A. Baines ve K. P. Wachsmann, çev.). Galpin Society Journal, 34, ss. 3-29.
  • Johnson, H. M. (1993). The Symbolism of the koto: An ethnomusicology of the form and function of a traditional Japanese musical instrument (Yayımlanmamış doktora tezi). University of Oxford, Oxford.
  • Kárpáti, J. (1989). Myth[s] as organological fact[s]: After rereading Dénes Bartha’s “Double Pipe of Jánoshida”. Studia Musicologica, 31, ss. 5-38.
  • Kartomi, M. J. (1990). On concepts and classifications of musical instruments. London: The University of Chicago Press.
  • Lindsay, J. (1979). Javanese gamelan. Oxford: Oxford University Press.
  • Merriam, A. P. (1964). The anthropology of music. Evanston, Illinois: Northwestern University Press.
  • Roseman, M. (1991). Healing sounds from the Malaysian rainforest: Temiar27 music and medicine. Berkeley etc.: The University of California Press.
  • Sachs, C. (1940). The history of musical instruments. New York: W. W. Norton and Co.
  • Schafer, R. M. (1973). The music of the environment. Cultures, 1(1), ss. 15-52.
  • Schafer, R. M. (1992). Music, non-music and the soundscape. J. Paynter vd. (ed.), Companion to contemporary musical thought içinde (Cilt 1, ss. 34-45). London: Routledge.
  • Simonson, L. (1987). A Burmese arched harp (saùng-gauk) and its pervasive Buddhist symbolism. Journal of the American Musical Instrument Society, 13, ss. 39-64.
  • Sorrell, N. (1990). A guide to the gamelan. London: Faber and Faber.
  • Stockmann, D. (1991). Interdisciplinary approaches to the study of musical communication structures. B. Nettl ve P. V. Bohlman (ed.), Comparative musicology and anthropology of music: Essays on the history of ethnomusicology içinde (ss. 318-41). London: The University of Chicago Press.
  • Tatsui, T. N. S. (ed.). (1990). Suikinkutsu no hanashi [A discussion of suikinkutsu]. Tokyo: Kenchiku Shiryô Kenkyû-sha.
  • Tokumaru, Y. (1986). The interaction of orality and literacy in structuring Syamisen28 music. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 110-29). Tokyo: Academia Music,
  • Tsuge, G. (1978). Bamboo, silk, dragon and phoenix: Symbolism in the musical instruments of Asia. The World of Music, 20(3), ss. 10-19.
  • Tsuge, G. (1983). Raiment of traditional Japanese musicians: Its social and musical significance. The World of Music, 25(1), ss. 55-67.
  • Tsuge, G. (1986). Explicit and implicit aspects of koto kumiuta29 notations. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 252-72). Tōkyō: Academia Music.
  • Van Gulik, R. H. (1940). The lore of the Chinese lute: An essay in Ch’in ideology. Tokyo: Sophia University.
  • Wachsmann, K. (1984). Classification. S. Sadie (ed.), The New Grove dictionary of musical instruments içinde (Cilt I, ss. 407-10). London: Macmillan Press.
  • Waterhouse, D. (1986). The logical priority of performance for the analysis of music. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 371-79). Tōkyō: Academia Music,
  • Winternitz, E. (1967). Musical instruments and their symbolism in Western art. London: Faber and Faber.
  • Yamaguti, O. (1986). Music and its transformations in direct and indirect contexts. T. Yosihiko ve Y. Osamu (ed.), The oral and the literate in music içinde (ss. 29-37). Tōkyō: Academia Music.
  • Yamaguti, O. (1991). Performance as a historical source in music research. T. Yosihiko vd. (ed.), Tradition and its future in music: Report of SIMS Osaka (the Fourth Symposium of the International Musicological Society) içinde (ss. 153-57). Tōkyō: Mita Press.
There are 43 citations in total.

Details

Primary Language Turkish
Journal Section Translation
Authors

Henry M. Johnson This is me

Translators

Seyit Yöre This is me

Early Pub Date April 25, 2022
Publication Date November 1, 2021
Submission Date September 1, 2021
Published in Issue Year 2021 Issue: 24

Cite

APA Johnson, H. M. (2021). Müzik Aletlerinin Bir Etnomüzikolojisi: Form, İşlev ve Anlam (S. Yöre, Trans.). MSGSÜ Sosyal Bilimler, 2(24), 767-776.