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  • Turkish Folk Music and The Bağlama in Ghent (Presentation)

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    Liselotte Sels
    189 просмотров25 страниц
    Paper presented on the First Baglama Symposium in Germany (Berlin 2013). Next year in 2014, fifty years of Turkish presence in Ghent and in Belgium will be celebrated. The Turkish migration to Ghent started with the bilateral agreement between Belgium and Turkey of 1964, allowing official labour migration. The economic crisis of the 1970s lead to an immigration stop upon which chain migration through family reunification/formation remained the main channel of Turkish migration to Belgium. At present, the Turkish diaspora in Ghent, representing approximately 6-10% of the city population, consists of three generations: the migrants themselves, their children and their grandchildren. Although the Turkish presence in Ghent still evolves and continues to receive new immigrants, it possesses a permanent quality and is an important social, political, economic and cultural actor in Ghent’s urban fabric. Folk music, being a vital part of Turkish culture, has always been treasured and practiced within the Turkish communities in Ghent. From the 1960s until present, a large evolution and development has taken place with respect to the manifestation and role of Turkish folk music in the Turkish communities. In its motherland as well as in the diaspora, the long-necked lute called bağlama or saz symbolizes the authentic Turkish folk music culture and is ubiquitous in the performance of the broad genre of ‘Turkish folk music’. This paper sheds a light on the different meanings and roles of the bağlama in contemporary Ghent, across distinct social settings (contexts) and musical genres. On a musical level, the instrument’s relation to the other instruments and voices in different kinds of performances is analyzed, as well as its various playing techniques and performance styles. The main data collection is constituted by 19 ethnographically studied musical events, observed and captured during a systematic field study in Ghent in 2011-2013, and complemented with additional field research.

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    Turkish folk music and the bağlama in Ghent (presentation)

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    Paper presented on the First Baglama Symposium in Germany (Berlin 2013). Next year in 2014, fifty years of Turkish presence in Ghent and in Belgium will be celebrated. The Turkish migration to Ghent started with the bilateral agreement between Belgium and Turkey of 1964, allowing official labour migration. The economic crisis of the 1970s lead to an immigration stop upon which chain migration through family reunification/formation remained the main channel of Turkish migration to Belgium. At present, the Turkish diaspora in Ghent, representing approximately 6-10% of the city population, consists of three generations: the migrants themselves, their children and their grandchildren. Although the Turkish presence in Ghent still evolves and continues to receive new immigrants, it possesses a permanent quality and is an important social, political, economic and cultural actor in Ghent’s urban fabric. Folk music, being a vital part of Turkish culture, has always been treasured and practiced within the Turkish communities in Ghent. From the 1960s until present, a large evolution and development has taken place with respect to the manifestation and role of Turkish folk music in the Turkish communities. In its motherland as well as in the diaspora, the long-necked lute called bağlama or saz symbolizes the authentic Turkish folk music culture and is ubiquitous in the performance of the broad genre of ‘Turkish folk music’. This paper sheds a light on the different meanings and roles of the bağlama in contemporary Ghent, across distinct social settings (contexts) and musical genres. On a musical level, the instrument’s relation to the other instruments and voices in different kinds of performances is analyzed, as well as its various playing techniques and performance styles. The main data collection is constituted by 19 ethnographically studied musical events, observed and captured during a systematic field study in Ghent in 2011-2013, and complemented with additional field research.

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    189 просмотров25 страниц

    Turkish Folk Music and The Bağlama in Ghent (Presentation)

    Загружено:

    Liselotte Sels
    Paper presented on the First Baglama Symposium in Germany (Berlin 2013). Next year in 2014, fifty years of Turkish presence in Ghent and in Belgium will be celebrated. The Turkish migration to Ghent started with the bilateral agreement between Belgium and Turkey of 1964, allowing official labour migration. The economic crisis of the 1970s lead to an immigration stop upon which chain migration through family reunification/formation remained the main channel of Turkish migration to Belgium. At present, the Turkish diaspora in Ghent, representing approximately 6-10% of the city population, consists of three generations: the migrants themselves, their children and their grandchildren. Although the Turkish presence in Ghent still evolves and continues to receive new immigrants, it possesses a permanent quality and is an important social, political, economic and cultural actor in Ghent’s urban fabric. Folk music, being a vital part of Turkish culture, has always been treasured and practiced within the Turkish communities in Ghent. From the 1960s until present, a large evolution and development has taken place with respect to the manifestation and role of Turkish folk music in the Turkish communities. In its motherland as well as in the diaspora, the long-necked lute called bağlama or saz symbolizes the authentic Turkish folk music culture and is ubiquitous in the performance of the broad genre of ‘Turkish folk music’. This paper sheds a light on the different meanings and roles of the bağlama in contemporary Ghent, across distinct social settings (contexts) and musical genres. On a musical level, the instrument’s relation to the other instruments and voices in different kinds of performances is analyzed, as well as its various playing techniques and performance styles. The main data collection is constituted by 19 ethnographically studied musical events, observed and captured during a systematic field study in Ghent in 2011-2013, and complemented with additional field research.

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    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF, TXT или читайте онлайн в Scribd
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    Turkish folk music and the balama in Ghent

    Liselotte Sels Research assistant School of Arts Ghent - Department of Music

    The Turkish diaspora in Ghent

    Turkish presence in Ghent (1)


    Ghent:
    Third largest city in Belgium 20000-25000 inhabitants of Turkish descent
    4550 people with Turkish or double nationality 11042 people with former Turkish nationality ?? people born with Belgian nationality but of Turkish origin

    15-09-2013

    2. INTERNATIONALES BALAMA-SYMPOSIUM

    Turkish presence in Ghent (2)


    Migration history:
    First phase:
    Bilateral agreement Belgium-Turkey (1964) Migrant workers employed in textile industry

    Second phase:
    Immigration stop in 1974 (< economic crisis) Family reunification, family formation

    15-09-2013

    2. INTERNATIONALES BALAMA-SYMPOSIUM

    Turkish presence in Ghent (3)


    Regions of origin:
    Afyon (Emirda) + Konya, Eskiehir, Ankara Elaz Ardahan (Posof) Istanbul

    15-09-2013

    2. INTERNATIONALES BALAMA-SYMPOSIUM

    Turkish presence in Ghent (4)


    Concentration in particular neighborhoods

    Permanent quality Important social, political, economic, cultural actor


    15-09-2013 2. INTERNATIONALES BALAMA-SYMPOSIUM 6

    Methodology
    Ethographic study

    Overview of the attended events


    NO 1 2 3 4 5 DATE 23 Oct. 2011 2 Dec. 2011 3 Dec. 2011 15 Jan. 2012 28 Jan. 2012 CITY Ghent Ghent Rupelmonde Ghent Ghent SHORT
    DESCRIPTION

    KIND

    OF EVENT

    Cultural festival (Kltr leni) Turkish evening Circumcision party (Snnet dn) Trk evening Open day of Intercultural Center

    Festival (Caf) concert Celebration important life event (Caf) concert Festival

    6
    7 8 9 10 11 12 13 14 15 16

    29 Jan. 2012
    10 Feb. 2012 16 Mar. 2012 16 Mar. 2012 08 Apr. 2012 18 Apr. 2012 30 Apr. 2012 08 May 2012 18 May 2012 18 May 2012 20 May 2012

    Ghent
    Ghent Ghent Ghent Nazareth Temse Ghent Ghent Ghent Ghent Ghent

    Trk evening
    Turkish evening Karaoke evening of student club (Sra gecesi) Turkish evening Wedding party (Dn) Suvermez night (Suvermez gecesi) Trk evening Caf concert Trk evening Jam Student festival world music school

    (Caf) concert
    (Caf) concert Formal social gathering (Caf) concert Celebration important life event Formal social gathering (Caf) concert (Caf) concert (Caf) concert Informal social gathering Festival

    17
    18 19

    25 May 2012
    27 May 2012 1 Mar. 2013

    Ghent
    Wachtebeke Ghent

    Cem
    Open-air festival (Seyran) Official opening of music caf

    Religious service
    Festival Inauguration

    15-09-2013

    2. INTERNATIONALES BALAMA-SYMPOSIUM

    The balama in Ghent


    1. Musical aspects

    Turkish folk music and the balama in Ghent

    Performance
    Trk bars, Intercultural Center, associations & organizations, other performances

    Education
    Centrality of the balama
    Formal / Informal Municipal music schools, associations, private

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    2. INTERNATIONALES BALAMA-SYMPOSIUM

    10

    Instruments
    19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0

    Events

    Instruments

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    2. INTERNATIONALES BALAMA-SYMPOSIUM

    11

    Use of the balama


    Uzun sap & ksa sap (long & short neck) All formats: cura meydan saz

    Amplification
    Combination with voice Ubiquitous
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    Instruments
    19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0

    Events

    Instruments

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    2. INTERNATIONALES BALAMA-SYMPOSIUM

    13

    Performance styles & influences (1)


    Traditional performance style
    Festival Caf concert Jam Cem Wedding party (davul & zurna)

    Influence from Western classical music

    Concert Caf concert Festival Concert Caf concert Festival Concert Caf concert Karaoke evening

    Jazz influence

    Subtle pop influence

    Overt pop influence

    Festival Circumcision party Wedding party Benefit evening Concert

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    2. INTERNATIONALES BALAMA-SYMPOSIUM

    14

    Performance styles & influences (2)


    Traditional performance style
    Monophonic, bourdon, parallel fourths/fifths Makams/ayaks, microtonal system Additive rhythms, changing metres Regional tavr, az, ornaments

    Influence from Western classical music

    Tonal harmonies (chords, sequences) Equal temperament in favor of microtones Insertion of virtuoso phrases, ornaments, scales, chromaticism, arpeggios, second voices, doubling of the melody in thirds/sixths Jazz scales and harmonies Swing Equal temperament in favor of microtones Formal procedures of jazz (theme - impro - theme) Vocal or instrumental timbre, sound of pop music Pop harmonizations Standardized microtonal intervals or equal temperament Higher amplification of balama sound Less regional characteristics, less ornaments Repetition, riffs Regular metres Pop sound: hard beats, heavy basses, high amplification, distortion, sound effects Pop harmonizations Electr(on)ic instruments instead of acoustic instruments Fast tempos, regular metres Repetitition, riffs, Standardization, simplification 2. INTERNATIONALES BALAMA-SYMPOSIUM 15

    Jazz influence

    Subtle pop influence

    Overt pop influence

    15-09-2013

    Example 1

    Monophonic, bourdon, parallel fourths/fifths Makams/ayaks, microtonal system Additive rhythms, changing metres Regional tavr, az, ornaments

    Cem

    15-09-2013

    2. INTERNATIONALES BALAMA-SYMPOSIUM

    16

    Performance styles & influences (2)


    Traditional performance style
    Monophonic, bourdon, parallel fourths/fifths Makams/ayaks, microtonal system Additive rhythms, changing metres Regional tavr, az, ornaments

    Influence from Western classical music

    Tonal harmonies (chords, sequences) Equal temperament in favor of microtones Insertion of virtuoso phrases, ornaments, scales, chromaticism, arpeggios, second voices, doubling of the melody in thirds/sixths Jazz scales and harmonies Swing Equal temperament in favor of microtones Formal procedures of jazz (theme - impro - theme) Vocal or instrumental timbre, sound of pop music Pop harmonizations Standardized microtonal intervals or equal temperament Higher amplification of balama sound Less regional characteristics, less ornaments Repetition, riffs Regular metres Pop sound: hard beats, heavy basses, high amplification, distortion, sound effects Pop harmonizations Electr(on)ic instruments instead of acoustic instruments Fast tempos, regular metres Repetitition, riffs, Standardization, simplification 2. INTERNATIONALES BALAMA-SYMPOSIUM 17

    Jazz influence

    Subtle pop influence

    Overt pop influence

    15-09-2013

    Example 2

    Vocal or instrumental timbre, sound of pop music Pop harmonizations Standardized microtonal intervals or equal temperament Higher amplification of balama sound Less regional characteristics, less ornaments Repetition, riffs Regular metres

    Concert in Intercultural Center


    15-09-2013 2. INTERNATIONALES BALAMA-SYMPOSIUM 18

    Example 3
    Overt pop influence Pop sound: hard beats, heavy basses, high amplification, distortion, sound effects Pop harmonizations Electr(on)ic instruments instead of acoustic instruments Fast tempos, regular metres Repetitition, riffs, Standardization, simplification

    Circumcision party
    15-09-2013 2. INTERNATIONALES BALAMA-SYMPOSIUM 19

    The balama in Ghent


    2. Contextual aspects

    Role/value/meaning of the balama


    Depending on kind/function of event
    Concert, caf concert, festival cultural/intercultural function Religious service, celebration important event ritual function Formal/informal social gathering social function

    Depending on people involved


    Turkish, non-Turkish or mixed audience? General audience or specific groups? Individual nature of involved people
    15-09-2013 2. INTERNATIONALES BALAMA-SYMPOSIUM 21

    1. Trk evening

    2. Open air festival

    3. Circumcision party
    15-09-2013

    4. Cem
    2. INTERNATIONALES BALAMA-SYMPOSIUM 22

    Conclusion

    Ghent vs Turkey: the balama


    Musical level
    Similarities: Way of manifesting itself, position Differences: Higher omnipresence in Ghent; less traditional Turkish instruments & a cappella singing Less purely Turkish folk music programs & traditional performance practices in Ghent; more mixed programs and hybrid performance styles.
    15-09-2013

    Contextual level
    Similarities: Cultural meanings and symbolic values Way of functioning in different kinds of musical events

    Setting in diaspora
    Extra dimension

    2. INTERNATIONALES BALAMA-SYMPOSIUM

    24

    Questions or remarks?
    liselotte.sels@hogent.be
    15-09-2013 2. INTERNATIONALES BALAMA-SYMPOSIUM

    25

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