Research Article
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Year 2019, Volume: 3 Issue: 2, 146 - 164, 31.12.2019
https://doi.org/10.33906/musicologist.658482

Abstract

Project Number

2018.09.06.823

References

  • Albright, Charlotte F. (1976). “The Azerbaijani Cāshiq and His Performance of a Dāstān” Iranian Studies. 9(4): 220–247.
  • And, Metin. (2003). Oyun ve Bügü: Türk Kültüründe Oyun Kavramı (Oyun and Bügü: The Concept of Play in Turkish Culture). Istanbul: Yapı Kredi Publications. [Original work published 1974, İş Bankası Kültür Publications]
  • And, Metin. (2004). Başlangıcından 1983’e Türk Tiyatro Tarihi (The History of Turkish Theatre: From its Beginning to 1983). Istanbul: İletişim Publications.
  • Arıcı, Oğuz. (2011). “Geleneksel Türk Tiyatrosunun Ölümü (The Death of Traditional Turkish Theatre)” İstanbul Üniversitesi Edebiyat Fakültesi Tiyatro Eleştirmenliği ve Dramaturji Bölüm Dergisi (Istanbul University Journal of Theatre Criticism and Dramaturgy). 19: 1-31.
  • Ayas, Güneş. (2015). “Alâeddin Yavaşça ve Meşk Ahlakı: Yaşayan Bir Geleneğin Sosyolojik Analizi (Alâeddin Yavaşça and the Ethics of Meşk: Sociological Analysis of a Living Tradition)” Sosyologca. 9: 81-96.
  • Başgöz, İlhan. (2008). Hikâye: Turkish Folk Romance as Performance Art. Bloomington, Indiana: Indiana University Press.
  • Bayındır, Abdülaziz. (1988). “Âdâb” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 1, Ed. Mustafa Birol Ülker: pp. 334. Istanbul: Türkiye Diyanet Foundation.
  • Behar, Cem. (2014). Aşk Olmayınca Meşk Olmaz: Geleneksel Osmanlı/Türk Müziğinde Öğretim ve İntikal (There can be no Meşk without Love: Teaching and Transmission in Ottoman/Turkish Music). Istanbul: Yapı Kredi Publications. [Original work published 1988].
  • Bourdieu, Pierre. (1984). Distinction: A Social Critique of the Judgement of Taste (Nice, Richard, Trans.) Cambridge, MA: Harvard University Press.
  • Bryant, Rebecca. (2005). “The Soul Danced into the Body: Nation and Improvisation in Istanbul” American Ethnologist. 32(2): 222-238.
  • Büyük Türkçe Sözlük (Great Turkish Dictionary). (2019a, 10.12.2019). Gönül. Retrieved from http://www.tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid=TDK.GTS.558a5a54dd2a47.89688061
  • Büyük Türkçe Sözlük (Great Turkish Dictionary). (2019b, 10.12.2019). Sine. Retrieved from http://www.tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid=TDK.GTS.558a5a5be4ed00.97714534
  • Deschênes, Bruno; Eguchi, Yuko. (2018). “Embodied Orality: Transmission in Traditional Japanese Music” Asian Music. 49(1): 58-79.
  • Gade, M. Anna. (2007). “Islam” The Oxford Handbook of Religion and Emotion, Ed. John Corrigan: pp. 35–47. Oxford: Oxford University Press.
  • Gill-Gürtan, Denise. (2011). “Performing Meşk, Narrating History: Legacies of Transmission in Contemporary Turkish Musical Practices” Comparative Studies of South Asia, Africa and the Middle East. 31(3): 615-630.
  • Gölpınarlı, Abdülbaki. (2006). Mevlevi Âdâb ve Erkânı (Mevlevi Âdâb and Erkân). İstanbul: İnkılap Kitabevi Publications.
  • Heziyeva, Şergiyye. (2010). “Kars Âşıklık Geleneği ve Badeli Âşık (Kars Minstrel Tradition and Minstrel with Bade)” Atatürk Üniversitesi Türkiyat Araştırmaları Enstitüsü Dergisi (Ataturk University Journal of Turkish Researches Institute). 44: 211-225.
  • Kalender, Ruhi. (1987). “Türk Musikisi’nde Kullanılan Makamların Tesirleri (The Effects of the Makams used in Turkish Musiki)” Ankara Üniversitesi İlahiyat Fakültesi Dergisi (Journal of the Faculty of Divinity of Ankara University). 29(1): 361-375.
  • Karahasanoğlu, Songül. (2012). “Meşk: The Traditional Teaching System of Turkish Music” Journal of Teaching and Education. 1(7): 165-170.
  • Kurnaz, Cemal. (1996). “Gönül” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 14, Ed. Mustafa Birol Ülker: pp. 150-152. Istanbul: Türkiye Diyanet Foundation.
  • Lapidus, Ira. (1984). “Knowledge, Virtue, and Action: The Classical Muslim Conception of Adab and the Nature of Religious Fulfillment in Islam” Moral Conduct and Authority: The Place of Adab in South Asian Islam, Ed. Barbara D. Metcalf: pp. 38–61. Berkeley: University of California Press.
  • Özcan, Nuri. (2004). “Meşk-Musiki” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 29, Ed. Mustafa Birol Ülker: pp. 374-375. Ankara: Türkiye Diyanet Foundation.
  • Özkan, İsmail Hakkı. (2003). “Makam-Musiki” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 27, Ed. Mustafa Birol Ülker: pp. 410-412. Ankara: Türkiye Diyanet Foundation.
  • Öztürk, Okan Murat. (2002). “Anadolu Yerel Müziklerinde Geleneksel İcranın Vazgeçilmez Unsurlarından Biri Olarak ‘Tavır’ Kavramı Üzerine (On the Concept of ‘Attitude’ as one of the Indispensable Aspects of Traditional Performance in Anatolian Local Musics)”. Halkbilimi: Orta Doğu Teknik Üniversitesi Türk Halk Bilimi Topluluğu (Folklore: Middle East Technical University Turkish Folklore Club). 17: 13-17.
  • Serin, Muhittin. (2004). “Meşk–Hat” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 29, Ed. Mustafa Birol Ülker: pp. 372-374. Ankara: Türkiye Diyanet Foundation.
  • Sesli Sözlük (Voice Dictionary). (2019a, 10.12.2019). Âşık. Retrieved from https://www.seslisozluk.net/a%C5%9F%C4%B1k-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019b, 10.12.2019). Kadim. Retrieved from https://www.seslisozluk.net/kadim-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019c, 10.12.2019). Kâmil. Retrieved from https://www.seslisozluk.net/k%C3%A2mil-nedir-ne-demek
  • Sesli Sözlük (Voice Dictionary). (2019d, 10.12.2019). Oturup kalkmasını bilmek. Retrieved from https://www.seslisozluk.net/oturup%20kalkmas%C4%B1n%C4%B1%20bilmek-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019e, 10.12.2019). Perde. Retrieved from https://www.seslisozluk.net/perde-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019f, 10.12.2019). Saz. Retrieved from https://www.seslisozluk.net/saz-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019g, 10.12.2019). Sır. Retrieved from https://www.seslisozluk.net/s%C4%B1r-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019h, 10.12.2019). Tavır. Retrieved from https://www.seslisozluk.net/tav%C4%B1r-nedir-ne-demek/
  • Signell, Karl. (1974). “Esthetics of Improvisation in Turkish Art Music” Asian Music. 5(2): 45-49.
  • Touma, Habib Hassan. (1971). “The Maqam Phenomenon: An Improvisation Technique in the Music of the Middle East” Ethnomusicology. 15(1): 38–48.
  • TRT Nota Arşivi (TRT Notation Archive). (2011, 10.12.2019). Gönül Dağı (Mountain of Gönül). Retrieved from http://www.trtnotaarsivi.com/thm_detay.php?repno=3717&ad=G%D6N%DCL%20DA%D0I%20YA%D0MUR%20BORAN%20OLUNCA
  • Turino, Thomas. (2008). Music as Social Life: The Politics of Participation. Chicago: The University of Chicago Press.
  • Tüfekçioğlu, Abdülhamit. (2014). “Hat Sanatında Meşk ve İcâzet (Meşk and Authorisation in the Art of Calligraphy)” El Sanatları (Crafts) 17:111-113.
  • Uludağ, Süleyman. (2003). “Makam-Tasavvuf” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 27, Ed. Mustafa Birol Ülker: pp. 409-410. Ankara: Turkiye Diyanet Foundation.

Discovering One’s Self Through Embodiment of Tradition in Meşk: An Analysis of the Mode of Transmission in Turkish Performative Traditions

Year 2019, Volume: 3 Issue: 2, 146 - 164, 31.12.2019
https://doi.org/10.33906/musicologist.658482

Abstract

Meşk is a polysemic concept that originates from traditional Turkish music and denotes both an embodied mode of transmission and a participatory performance style that characterizes Turkish performative traditions. As a traditional mode of transmission, it is the face-to-face training method that is based on the pupil’s faithful repetition/imitation of the master’s performance. As a performance style, it combines repetition with innovation, as it is based on improvisation according to already existing traditional patterns. This idiosyncratic correlation between repetition and change in meşk produces a unique aesthetics, in which the performers search for the new that does not get old. This search is connected to the mystical teaching of tasavvuf that is particular to Turkish culture. Following tasavvuf’s objective of discovering one’s self through disciplining the soul by disciplining the body, the performers of Turkish traditions search for their selves through practicing the arts they try to master. In this manner, they act as a part of the traditional chain that maintains heart-to-heart transmission of spirituality.

Supporting Institution

Düzce University, Turkey

Project Number

2018.09.06.823

References

  • Albright, Charlotte F. (1976). “The Azerbaijani Cāshiq and His Performance of a Dāstān” Iranian Studies. 9(4): 220–247.
  • And, Metin. (2003). Oyun ve Bügü: Türk Kültüründe Oyun Kavramı (Oyun and Bügü: The Concept of Play in Turkish Culture). Istanbul: Yapı Kredi Publications. [Original work published 1974, İş Bankası Kültür Publications]
  • And, Metin. (2004). Başlangıcından 1983’e Türk Tiyatro Tarihi (The History of Turkish Theatre: From its Beginning to 1983). Istanbul: İletişim Publications.
  • Arıcı, Oğuz. (2011). “Geleneksel Türk Tiyatrosunun Ölümü (The Death of Traditional Turkish Theatre)” İstanbul Üniversitesi Edebiyat Fakültesi Tiyatro Eleştirmenliği ve Dramaturji Bölüm Dergisi (Istanbul University Journal of Theatre Criticism and Dramaturgy). 19: 1-31.
  • Ayas, Güneş. (2015). “Alâeddin Yavaşça ve Meşk Ahlakı: Yaşayan Bir Geleneğin Sosyolojik Analizi (Alâeddin Yavaşça and the Ethics of Meşk: Sociological Analysis of a Living Tradition)” Sosyologca. 9: 81-96.
  • Başgöz, İlhan. (2008). Hikâye: Turkish Folk Romance as Performance Art. Bloomington, Indiana: Indiana University Press.
  • Bayındır, Abdülaziz. (1988). “Âdâb” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 1, Ed. Mustafa Birol Ülker: pp. 334. Istanbul: Türkiye Diyanet Foundation.
  • Behar, Cem. (2014). Aşk Olmayınca Meşk Olmaz: Geleneksel Osmanlı/Türk Müziğinde Öğretim ve İntikal (There can be no Meşk without Love: Teaching and Transmission in Ottoman/Turkish Music). Istanbul: Yapı Kredi Publications. [Original work published 1988].
  • Bourdieu, Pierre. (1984). Distinction: A Social Critique of the Judgement of Taste (Nice, Richard, Trans.) Cambridge, MA: Harvard University Press.
  • Bryant, Rebecca. (2005). “The Soul Danced into the Body: Nation and Improvisation in Istanbul” American Ethnologist. 32(2): 222-238.
  • Büyük Türkçe Sözlük (Great Turkish Dictionary). (2019a, 10.12.2019). Gönül. Retrieved from http://www.tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid=TDK.GTS.558a5a54dd2a47.89688061
  • Büyük Türkçe Sözlük (Great Turkish Dictionary). (2019b, 10.12.2019). Sine. Retrieved from http://www.tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid=TDK.GTS.558a5a5be4ed00.97714534
  • Deschênes, Bruno; Eguchi, Yuko. (2018). “Embodied Orality: Transmission in Traditional Japanese Music” Asian Music. 49(1): 58-79.
  • Gade, M. Anna. (2007). “Islam” The Oxford Handbook of Religion and Emotion, Ed. John Corrigan: pp. 35–47. Oxford: Oxford University Press.
  • Gill-Gürtan, Denise. (2011). “Performing Meşk, Narrating History: Legacies of Transmission in Contemporary Turkish Musical Practices” Comparative Studies of South Asia, Africa and the Middle East. 31(3): 615-630.
  • Gölpınarlı, Abdülbaki. (2006). Mevlevi Âdâb ve Erkânı (Mevlevi Âdâb and Erkân). İstanbul: İnkılap Kitabevi Publications.
  • Heziyeva, Şergiyye. (2010). “Kars Âşıklık Geleneği ve Badeli Âşık (Kars Minstrel Tradition and Minstrel with Bade)” Atatürk Üniversitesi Türkiyat Araştırmaları Enstitüsü Dergisi (Ataturk University Journal of Turkish Researches Institute). 44: 211-225.
  • Kalender, Ruhi. (1987). “Türk Musikisi’nde Kullanılan Makamların Tesirleri (The Effects of the Makams used in Turkish Musiki)” Ankara Üniversitesi İlahiyat Fakültesi Dergisi (Journal of the Faculty of Divinity of Ankara University). 29(1): 361-375.
  • Karahasanoğlu, Songül. (2012). “Meşk: The Traditional Teaching System of Turkish Music” Journal of Teaching and Education. 1(7): 165-170.
  • Kurnaz, Cemal. (1996). “Gönül” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 14, Ed. Mustafa Birol Ülker: pp. 150-152. Istanbul: Türkiye Diyanet Foundation.
  • Lapidus, Ira. (1984). “Knowledge, Virtue, and Action: The Classical Muslim Conception of Adab and the Nature of Religious Fulfillment in Islam” Moral Conduct and Authority: The Place of Adab in South Asian Islam, Ed. Barbara D. Metcalf: pp. 38–61. Berkeley: University of California Press.
  • Özcan, Nuri. (2004). “Meşk-Musiki” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 29, Ed. Mustafa Birol Ülker: pp. 374-375. Ankara: Türkiye Diyanet Foundation.
  • Özkan, İsmail Hakkı. (2003). “Makam-Musiki” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 27, Ed. Mustafa Birol Ülker: pp. 410-412. Ankara: Türkiye Diyanet Foundation.
  • Öztürk, Okan Murat. (2002). “Anadolu Yerel Müziklerinde Geleneksel İcranın Vazgeçilmez Unsurlarından Biri Olarak ‘Tavır’ Kavramı Üzerine (On the Concept of ‘Attitude’ as one of the Indispensable Aspects of Traditional Performance in Anatolian Local Musics)”. Halkbilimi: Orta Doğu Teknik Üniversitesi Türk Halk Bilimi Topluluğu (Folklore: Middle East Technical University Turkish Folklore Club). 17: 13-17.
  • Serin, Muhittin. (2004). “Meşk–Hat” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 29, Ed. Mustafa Birol Ülker: pp. 372-374. Ankara: Türkiye Diyanet Foundation.
  • Sesli Sözlük (Voice Dictionary). (2019a, 10.12.2019). Âşık. Retrieved from https://www.seslisozluk.net/a%C5%9F%C4%B1k-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019b, 10.12.2019). Kadim. Retrieved from https://www.seslisozluk.net/kadim-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019c, 10.12.2019). Kâmil. Retrieved from https://www.seslisozluk.net/k%C3%A2mil-nedir-ne-demek
  • Sesli Sözlük (Voice Dictionary). (2019d, 10.12.2019). Oturup kalkmasını bilmek. Retrieved from https://www.seslisozluk.net/oturup%20kalkmas%C4%B1n%C4%B1%20bilmek-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019e, 10.12.2019). Perde. Retrieved from https://www.seslisozluk.net/perde-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019f, 10.12.2019). Saz. Retrieved from https://www.seslisozluk.net/saz-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019g, 10.12.2019). Sır. Retrieved from https://www.seslisozluk.net/s%C4%B1r-nedir-ne-demek/
  • Sesli Sözlük (Voice Dictionary). (2019h, 10.12.2019). Tavır. Retrieved from https://www.seslisozluk.net/tav%C4%B1r-nedir-ne-demek/
  • Signell, Karl. (1974). “Esthetics of Improvisation in Turkish Art Music” Asian Music. 5(2): 45-49.
  • Touma, Habib Hassan. (1971). “The Maqam Phenomenon: An Improvisation Technique in the Music of the Middle East” Ethnomusicology. 15(1): 38–48.
  • TRT Nota Arşivi (TRT Notation Archive). (2011, 10.12.2019). Gönül Dağı (Mountain of Gönül). Retrieved from http://www.trtnotaarsivi.com/thm_detay.php?repno=3717&ad=G%D6N%DCL%20DA%D0I%20YA%D0MUR%20BORAN%20OLUNCA
  • Turino, Thomas. (2008). Music as Social Life: The Politics of Participation. Chicago: The University of Chicago Press.
  • Tüfekçioğlu, Abdülhamit. (2014). “Hat Sanatında Meşk ve İcâzet (Meşk and Authorisation in the Art of Calligraphy)” El Sanatları (Crafts) 17:111-113.
  • Uludağ, Süleyman. (2003). “Makam-Tasavvuf” TDV İslam Ansiklopedisi (TDV Islam Encyclopedia), Vol. 27, Ed. Mustafa Birol Ülker: pp. 409-410. Ankara: Turkiye Diyanet Foundation.
There are 39 citations in total.

Details

Primary Language English
Subjects Anthropology, Music
Journal Section Articles
Authors

Şebnem Sözer Özdemir 0000-0001-5957-4306

Project Number 2018.09.06.823
Publication Date December 31, 2019
Published in Issue Year 2019 Volume: 3 Issue: 2

Cite

APA Sözer Özdemir, Ş. (2019). Discovering One’s Self Through Embodiment of Tradition in Meşk: An Analysis of the Mode of Transmission in Turkish Performative Traditions. Musicologist, 3(2), 146-164. https://doi.org/10.33906/musicologist.658482