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Melodies Across Time: Exploring Connections and Context in Eastern Black Sea Popular Music

Year 2024, , 108 - 124, 30.06.2024
https://doi.org/10.33906/musicologist.1381950

Abstract

The Eastern Black Sea region of Turkey, imbued with a wealth of cultural and historical narratives, boasts a musical heritage characterized by distinctive instruments, vocal styles, and polyphonic structures. This music is a testament to the region's rich identity, intricately woven through the tapestry of time by diverse cultural influences and significant historical events. This research is grounded in the endeavor to unravel the intricate connections within this musical sphere, particularly through the perspectives of intertextuality and hypertextuality. Intertextuality highlights nuanced dialogues between various musical compositions, offering an enriched perspective on their intrinsic associations. Hypertextuality, a concept introduced by Gerard Genette and later applied to music by Serge Lacasse, broadens this dialogue, revealing the intricate networks formed through actions such as covering, remixing, and translation. The investigation delves into these dynamics, especially in the popular tunes of the Eastern Black Sea, leveraging analytical techniques from musicology, cultural studies, and media studies. The objective is to understand how intertextuality and hypertextuality amplify the vibrancy and appeal of Eastern Black Sea melodies, shaping their fundamental essence, significance, and worldwide appeal. We aspire to foster profound comprehension of these multifaceted networks, illuminating their role in characterizing the region’s musical and cultural landscapes. This probe contributes a fresh perspective to ongoing debates in musicology and cultural studies, underscoring the imperative for an all-encompassing and prolonged methodology in musical enquiry, accentuating the power of intertextuality and hypertextuality in grasping the nexus between music and wider cultural, social, and historical backdrops. This meticulous scrutiny is expected not only to enrich scholarly discourse but also to unveil the myriad components steering the evolution and impact of the Eastern Black Sea’s abundant musical heritage.

References

  • Akat, Abdullah. (2010). "Bağsal Düşünce Çerçevesinde Doğu Karadeniz Bölgesi Müziklerinin Değişim Süreci" (The change process of the East Black Sea region music as part of (net)tachmental thought) Phd Dissertation, İstanbul Technical University, İstanbul, Türkiye.
  • Aktulum, Kubilay. (2013). Folklor ve Metinlerarasılık (Folklore and Intertextuality). Konya: Çizgi Kitabevi.
  • Aktulum, Kubilay. (2017). Müzik ve Metinlerarasılık (Music and Intertextuality). Konya: Çizgi Kitabevi.
  • Allen, Graham. (2022). Intertextuality. (3 ed). New York: Routledge.
  • Aslan, Uğur; Karahasanoğlu, Songül. (2021). "Sound Ethnobiology of Musical Instruments: A Sound View of Nature in Manufacturing Kemençe" Musicologist. 5(2): 240-263.
  • Ayas, Güneş. (2015). Müzik Sosyolojisi. (Sociology of Music) (1 ed). Istanbul: Doğu Kitapevi.
  • Bakhtin, Mikhail Mikhaĭlovich. (1981). The Dialogic Imagination: Four Essays. (Holquist, Michael, Trans & Ed.) Austin: University of Texas Press
  • Born, Georgina. (2005). "On Musical Mediation: Ontology, Technology and Creativity" Twentieth-century music. 2(1): 7-36.
  • Burkholder, James Peter. (2018). “Foreword: The Intertextual Network” The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. v-xviii. Michigan: University of Michigan Press.
  • Carboni, Marius. (2014). "The Digitization of Music and the Accessibility of the Artist" Journal of professional communication. 3(2): 149-164.
  • Castonguay, Roger. (2018). "Genettean Hypertextuality as Applied to the Music of Genesis: Intertextual and Intratextual Approaches" The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. 61-82. Michigan: University of Michigan Press.
  • Daniyeva, Maysara Djamalovna. (2020). "Intertextuality is One of the Main Features of the Communicative-Pragmatic Structure of Literary Works" Theoretical & Applied Science (4): 844-848.
  • de Castro, Paulo Francisco (2021). “Transtextuality According to Gérard Genette–and Beyond” Intertextuality in Music: Dialogic Composition, Ed. Violetta Kostka, Paulo F. de Castro, William A. Everett: pp. 131-144. London: Routledge.
  • Dewan, Sanjeev; Ramaprasad, Jui. (2014). "Social Media, Traditional Media, and Music Sales" Mis Quarterly. 38(1): 101-122.
  • Echard, William. (2018). “Someone and Someone: Dialogic Intertextuality and Neil Young” The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. 169-189. Michigan: University of Michigan Press.
  • Ersoy, İlhan. (2012). "Türk Müzik Kültüründe Çalgı ve Çalgı Müziği" (The Instrument and Instrumental Music in Turkish Music Culture) Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi. (2): 88-91.
  • Khan, Imdad Ullah; Rahman, Ghani and Hamid, Abdul. (2021). "Poststructuralist Perspectives on Language and Identity: Implications for English Language Teaching Research in Pakistan” Scholarly Journal of Education Sciences Research. 4(1): 257-267.
  • Kristeva, Julia. (1980). Desire in Language: A semiotic Approach to Literature and Art. (Roudiez, Leon S., Ed.) New York: Columbia University Press.
  • Lacasse, Serge. (2000). "Intertextuality and Hypertextuality in Recorded Popular Music" The Musical Work: Reality or Invention? Reality or Invention?, Ed. Michael Talbot: pp. 35-58. Liverpool: Liverpool University Press.
  • Lacasse, Serge. (2018). “Toward a Model of Transphonography” The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. 9-60. Michigan: University of Michigan Press.
  • Miani, Alessandro. (2016). “A Language-Based Approach to Music and Intertextuality” From Modernism to Postmodernism: Between Universal and Local, Eds. Gregor Pompe, Katarina Bogunović Hočevar, and Nejc Sukljan: pp. 267–277. New York: Peter Lang
  • Middleton, Richard. (1990). Studying Popular Music. UK: McGraw-Hill Education.
  • Nattiez, Jean-Jacques. (1990). Music and Discourse: Toward a Semiology of Music. New Jersey: Princeton University Press.
  • Saatçi, Merve. (2016). "Kültürün Mekansal Organizasyona Etkilerinin Mekan Dizim Yöntemi ile Analizi: Laz, Hemşin Ve Gürcü Kültürü Örneği" (The analysis of the influence of culture on spatial organization by space syntax method: Example of Laz, Hemsin and Georgian culture) Master Dissertation, Yıldız Technical University, İstanbul, Türkiye.
  • Solomon, Thomas. (2017). "Who Are the Laz? Cultural Identity and the Musical Public Sphere on the Turkish Black Sea Coast" The World of Music: 6(2): 83-113.
  • Somuncu, Mehmet; Ceylan, Serdar. (2015). "Folk Music, Local Dances and Summer Pasture Festivals in Rural Areas of the Eastern Black Sea Region, Turkey" Coğrafi Bilimler Dergisi. 13(2): 79-92.
  • Strachan, Jeremy. (2013). "Reading Ascension: Intertextuality, Improvisation, and Meaning in Performance" Critical Studies in Improvisation/Études critiques en improvisation. 9(2): 1-11.
  • Subin, Athira; Joseph, Aneeta. (2021). "Interpreting Diasporic Music: An Ethnomusicological Understanding of Identity" International Journal of Creative Research Thoughts. 9(8): 413-423.
  • Tanvir, Kuhu; Walia, Ramna. (2021). "Remix" BioScope: South Asian Screen Studies. 12(1- 2): 166-169.
  • Tarasti, Eero. (1994). A Theory of Musical Semiotics. Indiana: Indiana University Press.
  • Tepper, Steven J; Hargittai, Eszter. (2009). "Pathways to Music Exploration in a Digital Age" Poetics. 37(3): 227-249.
  • Varnum, Michael EW; Krems, Jaimie Arona; Morris, Colin; Wormley, Alexandra and Grossmann, Igor. (2021). "Why are Song Lyrics Becoming Simpler? A Time Series Analysis of Lyrical Complexity in Six Decades of American Popular Music" PloS one. 16(1): e0244576.
Year 2024, , 108 - 124, 30.06.2024
https://doi.org/10.33906/musicologist.1381950

Abstract

References

  • Akat, Abdullah. (2010). "Bağsal Düşünce Çerçevesinde Doğu Karadeniz Bölgesi Müziklerinin Değişim Süreci" (The change process of the East Black Sea region music as part of (net)tachmental thought) Phd Dissertation, İstanbul Technical University, İstanbul, Türkiye.
  • Aktulum, Kubilay. (2013). Folklor ve Metinlerarasılık (Folklore and Intertextuality). Konya: Çizgi Kitabevi.
  • Aktulum, Kubilay. (2017). Müzik ve Metinlerarasılık (Music and Intertextuality). Konya: Çizgi Kitabevi.
  • Allen, Graham. (2022). Intertextuality. (3 ed). New York: Routledge.
  • Aslan, Uğur; Karahasanoğlu, Songül. (2021). "Sound Ethnobiology of Musical Instruments: A Sound View of Nature in Manufacturing Kemençe" Musicologist. 5(2): 240-263.
  • Ayas, Güneş. (2015). Müzik Sosyolojisi. (Sociology of Music) (1 ed). Istanbul: Doğu Kitapevi.
  • Bakhtin, Mikhail Mikhaĭlovich. (1981). The Dialogic Imagination: Four Essays. (Holquist, Michael, Trans & Ed.) Austin: University of Texas Press
  • Born, Georgina. (2005). "On Musical Mediation: Ontology, Technology and Creativity" Twentieth-century music. 2(1): 7-36.
  • Burkholder, James Peter. (2018). “Foreword: The Intertextual Network” The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. v-xviii. Michigan: University of Michigan Press.
  • Carboni, Marius. (2014). "The Digitization of Music and the Accessibility of the Artist" Journal of professional communication. 3(2): 149-164.
  • Castonguay, Roger. (2018). "Genettean Hypertextuality as Applied to the Music of Genesis: Intertextual and Intratextual Approaches" The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. 61-82. Michigan: University of Michigan Press.
  • Daniyeva, Maysara Djamalovna. (2020). "Intertextuality is One of the Main Features of the Communicative-Pragmatic Structure of Literary Works" Theoretical & Applied Science (4): 844-848.
  • de Castro, Paulo Francisco (2021). “Transtextuality According to Gérard Genette–and Beyond” Intertextuality in Music: Dialogic Composition, Ed. Violetta Kostka, Paulo F. de Castro, William A. Everett: pp. 131-144. London: Routledge.
  • Dewan, Sanjeev; Ramaprasad, Jui. (2014). "Social Media, Traditional Media, and Music Sales" Mis Quarterly. 38(1): 101-122.
  • Echard, William. (2018). “Someone and Someone: Dialogic Intertextuality and Neil Young” The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. 169-189. Michigan: University of Michigan Press.
  • Ersoy, İlhan. (2012). "Türk Müzik Kültüründe Çalgı ve Çalgı Müziği" (The Instrument and Instrumental Music in Turkish Music Culture) Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi. (2): 88-91.
  • Khan, Imdad Ullah; Rahman, Ghani and Hamid, Abdul. (2021). "Poststructuralist Perspectives on Language and Identity: Implications for English Language Teaching Research in Pakistan” Scholarly Journal of Education Sciences Research. 4(1): 257-267.
  • Kristeva, Julia. (1980). Desire in Language: A semiotic Approach to Literature and Art. (Roudiez, Leon S., Ed.) New York: Columbia University Press.
  • Lacasse, Serge. (2000). "Intertextuality and Hypertextuality in Recorded Popular Music" The Musical Work: Reality or Invention? Reality or Invention?, Ed. Michael Talbot: pp. 35-58. Liverpool: Liverpool University Press.
  • Lacasse, Serge. (2018). “Toward a Model of Transphonography” The Pop Palimpsest: Intertextuality in Recorded Popular Music, Ed. Lori Burns and Serge Lacasse: pp. 9-60. Michigan: University of Michigan Press.
  • Miani, Alessandro. (2016). “A Language-Based Approach to Music and Intertextuality” From Modernism to Postmodernism: Between Universal and Local, Eds. Gregor Pompe, Katarina Bogunović Hočevar, and Nejc Sukljan: pp. 267–277. New York: Peter Lang
  • Middleton, Richard. (1990). Studying Popular Music. UK: McGraw-Hill Education.
  • Nattiez, Jean-Jacques. (1990). Music and Discourse: Toward a Semiology of Music. New Jersey: Princeton University Press.
  • Saatçi, Merve. (2016). "Kültürün Mekansal Organizasyona Etkilerinin Mekan Dizim Yöntemi ile Analizi: Laz, Hemşin Ve Gürcü Kültürü Örneği" (The analysis of the influence of culture on spatial organization by space syntax method: Example of Laz, Hemsin and Georgian culture) Master Dissertation, Yıldız Technical University, İstanbul, Türkiye.
  • Solomon, Thomas. (2017). "Who Are the Laz? Cultural Identity and the Musical Public Sphere on the Turkish Black Sea Coast" The World of Music: 6(2): 83-113.
  • Somuncu, Mehmet; Ceylan, Serdar. (2015). "Folk Music, Local Dances and Summer Pasture Festivals in Rural Areas of the Eastern Black Sea Region, Turkey" Coğrafi Bilimler Dergisi. 13(2): 79-92.
  • Strachan, Jeremy. (2013). "Reading Ascension: Intertextuality, Improvisation, and Meaning in Performance" Critical Studies in Improvisation/Études critiques en improvisation. 9(2): 1-11.
  • Subin, Athira; Joseph, Aneeta. (2021). "Interpreting Diasporic Music: An Ethnomusicological Understanding of Identity" International Journal of Creative Research Thoughts. 9(8): 413-423.
  • Tanvir, Kuhu; Walia, Ramna. (2021). "Remix" BioScope: South Asian Screen Studies. 12(1- 2): 166-169.
  • Tarasti, Eero. (1994). A Theory of Musical Semiotics. Indiana: Indiana University Press.
  • Tepper, Steven J; Hargittai, Eszter. (2009). "Pathways to Music Exploration in a Digital Age" Poetics. 37(3): 227-249.
  • Varnum, Michael EW; Krems, Jaimie Arona; Morris, Colin; Wormley, Alexandra and Grossmann, Igor. (2021). "Why are Song Lyrics Becoming Simpler? A Time Series Analysis of Lyrical Complexity in Six Decades of American Popular Music" PloS one. 16(1): e0244576.
There are 32 citations in total.

Details

Primary Language English
Subjects Musicology and Ethnomusicology
Journal Section Articles
Authors

Gökhan Altınbaş 0000-0002-4803-562X

Songul Karahasanoglu 0000-0003-3861-1088

Publication Date June 30, 2024
Submission Date October 27, 2023
Acceptance Date November 17, 2023
Published in Issue Year 2024

Cite

APA Altınbaş, G., & Karahasanoglu, S. (2024). Melodies Across Time: Exploring Connections and Context in Eastern Black Sea Popular Music. Musicologist, 8(1), 108-124. https://doi.org/10.33906/musicologist.1381950