Araştırma Makalesi
BibTex RIS Kaynak Göster
Yıl 2018, Cilt: 2 Sayı: 1, 78 - 95, 30.06.2018
https://doi.org/10.33906/musicologist.439254

Öz

Kaynakça

  • Abelman, Robert. (2006). “Without Divine Intervention: Contemporary Christian Music Radio and Audience Transference”. Journal of Media and Religion. 5(4): 209-231.
  • Aslan, Uğur; Yükselsin, İbrahim Yavuz. (2015). “Popular Music in Protestant Rituals: Izmir Contemporary Worship Scene”. The Journal of International Social Research. 8(40): 876- 888.
  • Blacking, John. (1979). “The Study of Man as Music-Maker”. The Performing Arts. Ed. John Blacking: 3-16. Bristol: Mouton Publishers.
  • Blacking, John. (1995). “Expressing Human Experience Through Music”. Music, Culture, Experience: Selected Papers of John Blacking. Ed. Reginald Byron: 31-53. Chicago: The University of Chicago Press.
  • Boiles, Charles L. (1982). “Process of Musical Semiosis”. Yearbook for Traditional Music. 14: 24-44.
  • Bohlman, Philip. (2003). “Sacred Popular Music of the Mediterranean The Journey to Jerusalem”. Mediterranean Mosaic. Ed. Goffredo Plastino: 287-306. New York: Routledge.
  • Brown, Steven. (2003). “Biomusicology, and Three Biological Paradoxes About Music”. Bulletin of Psychology and The Arts. 4(1): 15-17.
  • Campbell, Patricia Shehan. (2010). Song In Their Head: Music and It’s Meaning In Children’s Lives. New York: Oxford University Press.
  • Cross, Ian. (2001). “Music, Mind and Evolution”. Psychology of Music. 29(1): 95-102.
  • DeNora, Tia. (1986). ‘How is Extra-Musical Meaning Possible? Music as a Place and Space for “Work”’. Sociological Theory. 4(1): 84-94.
  • Dumbauld, Ben. (2012). “Worship Music and Cultural Politics in the Chinese-American Church”. Ethnomusicology Review. 17. Retrieved from http://ethnomusicologyreview.ucla.edu/journal/volume/17/piece/590
  • Engelhardt, Jeffers (2011). “Music, Sound, and Religion”. Cultural Study of Music. Ed. Martin Clayton, Trevor Herbert, and Richard Middleton: 299-307 New York, London: Routledge.
  • Feld, Steven. (1984). “Sound Structure as Social Structure". Ethnomusicology. 28(3): 383-409.
  • Geertz, Clifford. (1993). “Religion as a Cultural System”. The Interpretation of Cultures: Selected Essays. London: Fontana Press.
  • Giddens, Anthony. (1984). The Constitution of Society: Outline of the Theory of Structuration. Berkeley, Los Angeles: University of California Press.
  • Gormly, Eric. (2003). “Evangelizing Through Appropriation: Toward a Cultural Theory on the Growth of Contemporary Christian Music”. Journal of Media and Religion. 2(4): 251-265.
  • Larsen, Gretchen; Rob Lawson; and Sarah Todd. (2010). “The Symbolic Consumption of Music”. Journal of Marketing Management. 26(7-8): 671-685.
  • Lakoff, George; Johnson, Mark. (2003). Metaphors We Live By. London: The University of Chicago Press. Mantare, Saku; Sillince, John A. A.; and Hämäläinen, Virpi. (2007). “Music as a Metaphor For Organizational Change”. Journal of Organizational Change Management. 20(3): 447-459.
  • Meyer, Leonard B. (1956). Emotion and Meaning in Music. Chicago and London: The University of Chicago Press. Nettl, Bruno. (2015). “The Basic Unit of All Culture and Civilization: Signs, Symbols, and Meaning”. The Study of Ethnomusicology: Thirty-Three Discussions. Chicago: University of Illinois Press.
  • Pang, Katherine. (2017). “Contemporary Christian Music”. Evangelical America: An Encyclopedia of Contemporary American Religious Culture. Ed. Timothy J. Demy and Paul R. Shockley. Santa Barbara: ABC-CLIO. Pp. 82-84.
  • Pierce, Charles Sanders. (1894). "What is a Sign?" Manuscript. Accessed November 29, 2017. Retrieved from http://www.iupui.edu/%7Epeirce/web/ep/ep2/ep2book/ch02/ep2ch2.htm.
  • Rice, Timothy. (2001). “Reflections on Music and Meaning: Metaphor, Signification and Control in The Bulgarian Case”. British Journal of Ethnomusicology. 10(1): 19-38.
  • Rice, Timothy. (2003). “Time, Place, and Metaphor in Musical Experience and Ethnography”. Ethnomusicology. 47(2): 151-179. Robertson, Carol. (1976). “Tayil as a Category and Communication among the Argentine Mapuche: A Methodological Suggestion”. Yearbook of the International Folk Music Council. 8: 35-52.
  • Tolbert, Elizabeth. (2001). “Music and Meaning: An Evolutionary Story”. Psychology of Music 29: 84-94. Vannini, Philip; Dennis Waskul. (2006). “Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society”. Symbolic Interaction 29(1): 5-18.
  • Zangwill, Nick. (2011). “Music, Essential Metaphor, and Private Language”. American Philospohical Quarterly. 48(1): 1-16.
  • Kervan, Cem. (2005). “Dem Geldi Dem”. Bursa (Turkey): Bağ Müzik Yapım.
  • Paul Baloche. (2011). “Worship Band Workshop: Roadmap to a Skilled Team”. Modern Worship Series. Leadworship. US
  • Buckley, Mike. (12.05.2015). Personal Communication.
  • Van Den Heuvel, Martijn. (10.03.2015). Personal Communication.

Metaphors and Meaning in the Turkish Contemporary Christian Music

Yıl 2018, Cilt: 2 Sayı: 1, 78 - 95, 30.06.2018
https://doi.org/10.33906/musicologist.439254

Öz

The aim of this article is to investigate the
musical experience, musical meaning, and metaphors in religious music in the
case of Turkish Contemporary Christian Music (TCCM). In the general sense, we
can say that Contemporary Christian Music simultaneously carries symbolic,
functional, and pragmatic meaning. Thus, this paper focuses on how Turkish
Christians apply metaphors in order to give meaning to TCCM in the process of
expressing experiences, and what other elements, unrelated to music, play a
role in this process. People use the metaphors in music in two ways: to explain
their experience of music and to give meaning to music, and to create music
according to their ideas or beliefs. In this context, music as practical
consciousness affects the metaphors used for musical practices as discursive
consciousness; but also metaphors as discursive consciousness affect musical
practices by creating proper sound in accordance with ideas or beliefs about
music. In the context of TCCM, metaphors are used for expressing supernatural
or transcendent experience as well as for sounding worship and link the worship
music to the religious belief.

Kaynakça

  • Abelman, Robert. (2006). “Without Divine Intervention: Contemporary Christian Music Radio and Audience Transference”. Journal of Media and Religion. 5(4): 209-231.
  • Aslan, Uğur; Yükselsin, İbrahim Yavuz. (2015). “Popular Music in Protestant Rituals: Izmir Contemporary Worship Scene”. The Journal of International Social Research. 8(40): 876- 888.
  • Blacking, John. (1979). “The Study of Man as Music-Maker”. The Performing Arts. Ed. John Blacking: 3-16. Bristol: Mouton Publishers.
  • Blacking, John. (1995). “Expressing Human Experience Through Music”. Music, Culture, Experience: Selected Papers of John Blacking. Ed. Reginald Byron: 31-53. Chicago: The University of Chicago Press.
  • Boiles, Charles L. (1982). “Process of Musical Semiosis”. Yearbook for Traditional Music. 14: 24-44.
  • Bohlman, Philip. (2003). “Sacred Popular Music of the Mediterranean The Journey to Jerusalem”. Mediterranean Mosaic. Ed. Goffredo Plastino: 287-306. New York: Routledge.
  • Brown, Steven. (2003). “Biomusicology, and Three Biological Paradoxes About Music”. Bulletin of Psychology and The Arts. 4(1): 15-17.
  • Campbell, Patricia Shehan. (2010). Song In Their Head: Music and It’s Meaning In Children’s Lives. New York: Oxford University Press.
  • Cross, Ian. (2001). “Music, Mind and Evolution”. Psychology of Music. 29(1): 95-102.
  • DeNora, Tia. (1986). ‘How is Extra-Musical Meaning Possible? Music as a Place and Space for “Work”’. Sociological Theory. 4(1): 84-94.
  • Dumbauld, Ben. (2012). “Worship Music and Cultural Politics in the Chinese-American Church”. Ethnomusicology Review. 17. Retrieved from http://ethnomusicologyreview.ucla.edu/journal/volume/17/piece/590
  • Engelhardt, Jeffers (2011). “Music, Sound, and Religion”. Cultural Study of Music. Ed. Martin Clayton, Trevor Herbert, and Richard Middleton: 299-307 New York, London: Routledge.
  • Feld, Steven. (1984). “Sound Structure as Social Structure". Ethnomusicology. 28(3): 383-409.
  • Geertz, Clifford. (1993). “Religion as a Cultural System”. The Interpretation of Cultures: Selected Essays. London: Fontana Press.
  • Giddens, Anthony. (1984). The Constitution of Society: Outline of the Theory of Structuration. Berkeley, Los Angeles: University of California Press.
  • Gormly, Eric. (2003). “Evangelizing Through Appropriation: Toward a Cultural Theory on the Growth of Contemporary Christian Music”. Journal of Media and Religion. 2(4): 251-265.
  • Larsen, Gretchen; Rob Lawson; and Sarah Todd. (2010). “The Symbolic Consumption of Music”. Journal of Marketing Management. 26(7-8): 671-685.
  • Lakoff, George; Johnson, Mark. (2003). Metaphors We Live By. London: The University of Chicago Press. Mantare, Saku; Sillince, John A. A.; and Hämäläinen, Virpi. (2007). “Music as a Metaphor For Organizational Change”. Journal of Organizational Change Management. 20(3): 447-459.
  • Meyer, Leonard B. (1956). Emotion and Meaning in Music. Chicago and London: The University of Chicago Press. Nettl, Bruno. (2015). “The Basic Unit of All Culture and Civilization: Signs, Symbols, and Meaning”. The Study of Ethnomusicology: Thirty-Three Discussions. Chicago: University of Illinois Press.
  • Pang, Katherine. (2017). “Contemporary Christian Music”. Evangelical America: An Encyclopedia of Contemporary American Religious Culture. Ed. Timothy J. Demy and Paul R. Shockley. Santa Barbara: ABC-CLIO. Pp. 82-84.
  • Pierce, Charles Sanders. (1894). "What is a Sign?" Manuscript. Accessed November 29, 2017. Retrieved from http://www.iupui.edu/%7Epeirce/web/ep/ep2/ep2book/ch02/ep2ch2.htm.
  • Rice, Timothy. (2001). “Reflections on Music and Meaning: Metaphor, Signification and Control in The Bulgarian Case”. British Journal of Ethnomusicology. 10(1): 19-38.
  • Rice, Timothy. (2003). “Time, Place, and Metaphor in Musical Experience and Ethnography”. Ethnomusicology. 47(2): 151-179. Robertson, Carol. (1976). “Tayil as a Category and Communication among the Argentine Mapuche: A Methodological Suggestion”. Yearbook of the International Folk Music Council. 8: 35-52.
  • Tolbert, Elizabeth. (2001). “Music and Meaning: An Evolutionary Story”. Psychology of Music 29: 84-94. Vannini, Philip; Dennis Waskul. (2006). “Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society”. Symbolic Interaction 29(1): 5-18.
  • Zangwill, Nick. (2011). “Music, Essential Metaphor, and Private Language”. American Philospohical Quarterly. 48(1): 1-16.
  • Kervan, Cem. (2005). “Dem Geldi Dem”. Bursa (Turkey): Bağ Müzik Yapım.
  • Paul Baloche. (2011). “Worship Band Workshop: Roadmap to a Skilled Team”. Modern Worship Series. Leadworship. US
  • Buckley, Mike. (12.05.2015). Personal Communication.
  • Van Den Heuvel, Martijn. (10.03.2015). Personal Communication.
Toplam 29 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Articles
Yazarlar

Uğur Aslan 0000-0002-4421-3687

Yayımlanma Tarihi 30 Haziran 2018
Yayımlandığı Sayı Yıl 2018 Cilt: 2 Sayı: 1

Kaynak Göster

APA Aslan, U. (2018). Metaphors and Meaning in the Turkish Contemporary Christian Music. Musicologist, 2(1), 78-95. https://doi.org/10.33906/musicologist.439254