scholarly journals Din, Müzik ve Kimlik Bağlamında Türkiye'de İslami Popüler Müzik / Islamic Popular Music in Turkey within the Context of Religion, Music and Identity

2016 ◽  
Vol 5 (2) ◽  
pp. 1
Author(s):  
İbrahim Yenen
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Protest Music ◽  
Significant Characteristic ◽  
Islamic Identity ◽  
Music And Identity ◽  
Cultural Components

<p><strong>Islamic Popular Music in Turkey within the Context of Religion, Music and Identity</strong></p><p><strong>Abstract</strong></p><p>This article, by examining the culture of Islamic Popular Music in Turkey, examines the role of this culture in forming and expressing of Islamic identity. The aim of this article is to point out how Islamic identity is expressed and transferred by means of popular music and what kind of changes this identity formed by means of Islamic music has experienced from 1990s to 2000s. This study has made analysis in the light of the following hypothesis “Islamic Popular Music is one of the important cultural components in comprehending the Islamic understanding of the period.” The samples of the style of Islamic Popular Music between 1990-­2000 were named as “Islamic Protest Music”. The most significant characteristic of Islamic Protest Music in 1990s is that the message contents rely on the distinction of “we and others”. In 2000s, Islamic Popular Music has turned into Islamic popular music which is away from giving a message through its melody, rhytm and instruments but carries commercial worries in accordance with the concerns of music industry.</p><p> </p><p><strong>Din, Müzik ve Kimlik Bağlamında Türkiye'de İslami Popüler Müzik</strong></p><p><strong>Öz</strong></p><p>Bu makale, Türkiye’de İslami Popüler Müzik kültürünü inceleyerek bu kültürün İslami kimliğin oluşması ve ifade edilmesi üzerinde nasıl bir etkisi olduğunu incelemektedir. Makalenin amacı, İslami kimliğin popüler müzik aracılığıyla nasıl ifade edildiği, aktarıldığı,ve ayrıca İslami müzik aracılığıyla oluşturulan bu kimliğin 90’lı yıllardan 2000’li yıllara nasıl bir değişim geçirdiğini göstermektir. Çalışmada “Dönemin İslami anlayışının kavranabilmesinde İslami popüler müzikler önemli kültürel öğelerden birisidir” varsayımından hareketle çözümlemeler yapılmıştır. İslami popüler müzik tarzının 1990-2000 yılları arasındaki örnekleri, “İslami protest müzik” olarak isimlendirilmiştir. 90’lı yıllar İslami protest müziğin en belirgin özelliği, mesaj içeriklerinin “biz ve onlar” ayrımına dayalı olmasıdır. 2000’li yıllarla birlikte İslami popüler müzik, ezgi, ritim ve enstrümanlarıyla mesaj iletme amacından uzak, müzik piyasasının gereklerine uygun bir şekilde ticari kaygı öncelikli, İslami bir pop müzik türü haline gelmiştir.</p>

scholarly journals Reconstructing the History of Motown Session Musicians: The Carol Kaye/James Jamerson Controversy

2019 ◽  
Vol 13 (1) ◽  
pp. 78-109
Author(s):  
BRIAN F. WRIGHT
Keyword(s):  
Popular Music ◽  
Creative Process ◽  
Music Industry ◽  
Historical Record ◽  
Skilled Professional ◽  
History Of ◽  
The 1960S

AbstractMotown Records churned out hit singles with remarkable efficiency, thanks largely to a stable of skilled professional session musicians. However, exactly who played on their most iconic recordings remains a mystery because, as was standard within the music industry, no Motown release in the 1960s credited these musicians for their work. These practices have led to conflicting accounts, the most famous of which concerns bassists James Jamerson and Carol Kaye. To this day, Kaye alleges that she played on numerous classic Motown recordings but has been purposefully omitted from Motown history. Conversely, Jamerson—who died more than thirty years ago—continues to be vehemently defended by acolytes such as biographer Allan Slutsky, who see Kaye's claims as blasphemous. Drawing on previously unexamined sources, this article reconstructs Kaye's involvement with Motown and, in so doing, reevaluates the merits of the Kaye/Jamerson controversy. Building on the work of Andrew Flory, I explore the role of session musicians in Motown's creative process and argue that critics and fans have propagated a problematic discourse in which Jamerson has been valorized and Kaye has been dismissed. Ultimately, Kaye's story not only provides a useful corrective to the historical record, it also demonstrates the need for further research into session musicians’ contributions to popular music.

The Polish Tin Pan Alley, a Jewish Street

2020 ◽  
pp. 147-164
Author(s):  
Robert A. Rothstein
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Music Industry ◽  
Tin Pan Alley ◽  
Music Publishers ◽  
American Popular Music ◽  
Popular Music Industry ◽  
Jewish Composers

This chapter highlights the 28th Street, between Fifth and Sixth Avenues in Manhattan, that became the home of several music publishers. It looks into the various accounts of how 28th Street came to be called “Tin Pan Alley,” pointing out the observation that the pianos played by song “pluggers” produced a cacophony reminiscent of the clatter of tin pans. It also mentions how the name “Tin Pan Alley” was eventually used as a metonym for the American popular-music industry. The chapter explores the pre-eminent role of Jewish composers, poets, songwriters, and performers in the Polish popular music industry of the 1920s and 1930s. It also focuses on Adam Aston, who was credited with popularizing the first Polish rumba, and Mieczysław Fogg, the most popular Polish singer of the twentieth century.

New Zealand popular music, government policy, and cultural identity

Popular Music ◽  
2008 ◽  
Vol 27 (2) ◽  
pp. 271-287 ◽  
Author(s):  
Roy Shuker
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Popular Music ◽  
Government Policy ◽  
Hip Hop ◽  
Music Industry ◽  
Success Story ◽  
Labour Government ◽  
Popular Music Industry

AbstractThe New Zealand popular music industry has recently undergone impressive growth, and is poised to make a significant international impact. Two aspects of this newly privileged position are examined. First, broadly sketching twenty years of developments, I argue that Government willingness to get behind the local industry, especially the role of the post-2000 Labour Government, is a crucial determinant of the present success story. Secondly, I consider the debated relationship between local music and New Zealand cultural identity, with particular reference to two prominent musical styles: Kiwi ‘garage’ rock, and Polynesian-dominated local rap, reggae and hip-hop-inflected music. I argue that the local must not be overly valorised, and that it is necessary to distinguish between ‘local music’ as a cultural signifier and locally made music, with both worthy of support.

Beyond ‘puffins and moss’: Iceland Airwaves and post-crash musical tourism

Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 539-553
Author(s):  
Kimberly D. Cannady
Keyword(s):  
Popular Music ◽  
Local Population ◽  
Music Industry ◽  
Musical Life ◽  
Music Festival ◽  
Tourism Sector ◽  
Foreign Tourism ◽  
Popular Music Industry ◽  
Tourism Economy

AbstractThis article explores relationships between the significant growth of foreign tourism to Iceland, following the 2008 economic crash, and the popular music festival Iceland Airwaves. I consider the effects of Iceland Airwaves on popular music in Reykjavík during the festival and outside of the festival season. My focus is primarily on how the local population experiences Iceland Airwaves and musical tourism in general. Based on ethnographic fieldwork conducted in Iceland between 2010 and 2018, I examine how musicians, politicians, festival management, tourism sector workers, business people, and other music industry workers approach and negotiate the rising role of popular music in Iceland's new tourism economy. This research contributes to broader understandings of how music festivals and musical tourism shape local musical life year-round, and it also offers insight into Iceland's internationally renowned popular music industry.

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Ranti - Rachmawanti
Keyword(s):  
Popular Culture ◽  
Qualitative Method ◽  
Music Industry ◽  
Main Idea ◽  
String Orchestra ◽  
Characteristic Func ◽  
Orchestra Music ◽  
Research Show ◽  
Func Tion

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture. 

The Jewish Population of Tennessee

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Jewish Population ◽  
Music Industry ◽  
Major Power ◽  
Sheet Music ◽  
Early Music ◽  
Music Publishers ◽  
Popular Music Industry

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

Singing back to the Bard: A conversation on Desdemona with Rokia Traoré

2020 ◽  
Vol 13 (3) ◽  
pp. 337-344 ◽  
Author(s):  
Valentina Rapetti
Keyword(s):  
African American ◽  
Professional Training ◽  
Music Industry ◽  
Political Activism ◽  
Nobel Laureate ◽  
Cross Cultural ◽  
High Quality ◽  
Non Profit ◽  
Artistic Director

Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.

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