作曲者 | Eliot Bates |
タイトル | Digital Tradition(ハードカバー) |
出版社 | Oxford University Press (USA) |
品番 | 9780190215736 |
形状 | 344 ページ・23.5 x 15.6 cm・794 g・ハードカバー |
出版番号 | 9780190215736 |
ISBN | 9780190215736 |
In one of the first ethnographies of contemporary studio music production, author Eliot Bates investigates the emergence of a transnational market for Anatolian minority popular musics in the Turkish music industry. With its unique interdisciplinary approach, Digital Tradition sets a new standard for the study of recorded music.
Contents, List of illustrations, Preface and acknowledgments, Notes about language, Map of Turkey, Part 1: A digital tradition of arrangement, Chapter 1: Arrangement and engineering, Arrangement and arrangers, Engineering and engineers, Social, technical, musical things, Research methodology, Chapter 2: Tradition, Discourses of tradition and place, Problems of place and identity, Traditions of work, Part 2: Arranged histories and arrangement industries, Chapter 3: Arranged folklore in early Republican Turkey, The demand for folklore, A source-resource model for analyzing derleme, Folklore at the birth of the Republic, Folklore institutions during the one-party era, Folklore and mass-media in the multi-party era, Musical practices of arrangement, cleaning and restoration, Cultural geographies of village, town, city and nation, Postscript: revisiting Altun Karahan, Chapter 4: The Anatolian ethnic music industry, The growth of Turkey's recorded music industry, Industries and ortak-s, Ethnic language politics and emerging markets, University ensembles: Grup Yorum, Kardes Turkuler and Zugasi Berepe, Organizational and production networks: the role and legacy of Kalan Muzik Yapim, Concerns with foreign perceptions, Social networks and the nature of professions, Negotiating outside actors, Part 3: The recording studio assemblage in Istanbul, Chapter 5: The experience of studio work, Auditory images and visions of the song arrangement, Studio listening modalities and technologies of audition, Latencies, Built environments and social dynamics, Chapter 6: Digital, Hearing digital data, visualizing Anatolian soundings: synesthesia in the studio, Digital audio, music, and non-musical sound, Acoustic instruments and indirect computer users, Chapter 7: Aesthetic keywords of the studio, Introduction, Denge/denk/denk gelmek: balance and suitability, Fena degil and oldu galiba: the aesthetics of not bad when mixes happen, Tavir, yorum and the art of interpretation, Renk enstrumanlari, Parlak and buyuk ses, Aesthetic relations, Part 4: Case studies in arranged music, Chapter 8: Arranged music and the donem filmi genre, Analyzing film music and sound, The donem filmi genre, Vizontele (2001) and the formation of a new film music genre, Beynelmilel (2006) and the problems of leitmotif, Ozlem Taner's Kara Tren/ Seher Inende, Donem films as technological tragic comedies, Chapter 9: Arranging the Black Sea, Finding the Karadeniz, Gokhan Birben, Hele Mele (on the outside), Gokhan Birben, Denizde Dalga Birdur (there's a wave in the ocean), Bizim Yasar Kabaosmanoglu, Nenni Nenni, Fatih Yasar Sirlarumi Soyledum (I told my secrets to the smoke on the mountain), Fatih Yasar Ciktum Yuksek Daglara (I headed up the high mountain), Aysenur Kolivar, Mavili Esarbumi / Lafun Aykirisi (Blue scarf / Against this nonsense), Chapter 10: Towards a methodology for the study of digital music production, Methodological Implications, Glossary, Bibliography, Mediagraphy (audio recordings, feature films, and TV shows), Index