Relevant bibliographies by topics / Kurdisk musik

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Kurdisk musik'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Kurdisk musik"

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Jähnichen, Gisa. "Book Review of ‘Kirsten Seidlitz. 2020. Musik & Politischer Konflikt aus der Türkei – kurdische, alevitische und linke Musik in Deutschland’ [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music In Germany]. Bielefeld: Transcript." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 97–99. http://dx.doi.org/10.30819/aemr.7-8.

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This short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei – Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript Verlag in Bielefeld. It is written in German and addresses many important questions regarding political conflicts and their impact on music among various different Turkish people living in Germany. Migration and political participation are heatedly debated in recent times and also a
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Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.

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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, b
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Blum, Stephen, and Amir Hassanpour. "‘The morning of freedom rose up’: Kurdish popular song and the exigencies of cultural survival." Popular Music 15, no. 3 (1996): 325–43. http://dx.doi.org/10.1017/s026114300000831x.

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In the final scene of Harold Pinter's play Mountain Language (1988), a guard informs the prisoners that they are now permitted to speak in their own language, at least ‘until further notice’. The guard is an agent of an unnamed state that pursues a policy of linguicide, summarised in an earlier scene by an officer who tells prisoners that ‘Your language no longer exists’. In 1993 the Kurdish Tiyatora Botan (based in Cologne) began to present Pinter's play to audiences of immigrants from Turkey, where Kurds were long called ‘mountain Turks’ (daǧli Türkler) by the government.
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Volgsten, Ulrik, and Oscar Pripp. "Music, Memory, and Affect Attunement: Connecting Kurdish Diaspora in Stockholm." Culture Unbound 8, no. 2 (2016): 144–64. http://dx.doi.org/10.3384/cu.2000.1525.1608144.

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This article takes its point of departure in Maurice Halbwachs’ notion of collective memory, adding the distinction made by Jan Assmann between communicative and cultural memory, and Alfred Schütz’s notion of communication, understood here as the sonorous communication of bodily affect. By combining and cross-fertilizing the concept of memory with that of affective experience, our aim is to take a new and productive perspective on music’s role as and in cultural memory as well as the crucial role played by affect attunement. As examples, we use interviews and observations from an on-going rese
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Adlington, Robert, and Sophie Fuller. "Editorial." Twentieth-Century Music 2, no. 1 (2005): 3–5. http://dx.doi.org/10.1017/s1478572205009011.

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Schäfers, Marlene. "Archived Voices, Acoustic Traces, and the Reverberations of Kurdish History in Modern Turkey." Comparative Studies in Society and History 61, no. 2 (2019): 447–73. http://dx.doi.org/10.1017/s0010417519000112.

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AbstractThis article investigates how middle-aged to elderly Kurdish women in Turkey engage with large collections of Kurdish music recordings in their possession. Framing them as archives, women mobilize these collections as central elements in a larger, ongoing Kurdish project of historical critique, which seeks to resist hegemonic state narratives that have long denied and marginalized Kurdish voices. While recognizing the critical intervention such archives make, the article contends that, to be heard as “history” with a legitimate claim to authority, subaltern voices often have to rely on
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Pace, Ian. "The Panorama of Michael Finnissy (II)." Tempo, no. 201 (July 1997): 7–16. http://dx.doi.org/10.1017/s0040298200005775.

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A large body of Michael Finnissy's work refers to music, texts and other aspects of culture outside the mainstream European tradition. As a child he met Polish and Hungarian friends of the family, and was further attracted to aspects of Eastern European music when asked to transcribe Yugoslav music from a record, for a ballet teacher. Study of anthropological and other literature led him to a conviction that folk music lay at the roots of most other music, and related quite directly to the defining nature of man's interaction with his environment. Finnissy went on to explore the widest range o
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Aksoy, Ozan. "The Soundtrack of Social Movements among Kurdish Alevi Immigrant from Turkey in Germany." Journal of Ethnic and Cultural Studies 6, no. 2 (2019): 57. http://dx.doi.org/10.29333/ejecs/253.

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Based on a multi-sited ethnographic research between 2010 and 2013, this article asserts that Kurdish and Alevi social movements in Turkey and in the transnational space have relied heavily on music and activist musicians to engage community members. This article marks several key songs, musicians, and events that effectively formed the soundtrack for these movements. Kurdish Alevi cultural entrepreneurs in Germany and Istanbul have established a transnational social field in which they can relate to members from those communities living in multiple locations. This multiplicity results from si
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Haggett, George K. "Bushra El-Turk and Eleanor Knight, Silk Moth Grimeborn, 9 August 2019." Tempo 74, no. 291 (2019): 103–5. http://dx.doi.org/10.1017/s0040298219000834.

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When Eleanor Knight began researching her libretto for Silk Moth, she had to decide how to frame an opera about honour violence. Meeting women whose lives it had ruptured through the Iranian and Kurdish Women's Rights Organisation, she confronted the usual images that accompany the dozen-or-so honour killings per year in the UK media. Between the ‘old, faded school photos’ that illustrate victimhood and the male perpetrators with ‘blankets over their heads … shoved into waiting police cars’, she saw a gulf of painful complexity. ‘What’, she asks, ‘of the mothers?’.
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SAEED, Nawzad Waqas, and Hiwa Nuraddin AZIZ. "Zihaf Impact on music Activators of Hashu Lines of Kurdish classical poetry." International Journal of Kurdish Studies 5, no. 1 (2019): 194–212. http://dx.doi.org/10.21600/ijoks.516503.

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Dissertations / Theses on the topic "Kurdisk musik"

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Demir, Zafer. "Dengbêj Tradition : från inspiration till improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1502.

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Bultmark, Fredrik. "Musik i exil : Kurdiska musiker i Stockholm." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-174251.

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Saritas, Ezgi B. Siynem. "Articulation Of Kurdish Identity Through Politicized Music Of Koms." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611651/index.pdf.

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The thesis analyzes the role of politicized music of Kurdish music groups (koms) that emerged in the 1990s in the construction of Kurdish identity. The relation between politics and music is analyzed in the framework of the relation between nationalism and music and political movements&#039<br>relation to music. Through koms&#039<br>politicized music, the movement communicated its cause, told the struggle of the movement and aimed to mobilize the masses. In addition to this, music has functioned as a field where the collective identity of the movement as well as the Kurdish identity is constru
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Withers, Jonathan Sanjeev. "Kurdish Music-Making in Istanbul: Music, Sentiment and Ideology in a Changing Urban Context." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493329.

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This thesis is an ethnographic study of Kurdish political music at three cultural centers in Istanbul, Turkey. Activists at these cultural centers engage in musical activities that perform the Kurdish nation in Istanbul, outside of the Kurdish homeland but home to a large Kurdish migrant community. By drawing on diverse musical sources, activist musicians create and perform music that promotes an ideological narrative of history and politics in which the Kurdish freedom struggle plays a central role. The efforts of these musicians are fundamental to creating and maintaining a Kurdish activist
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Majeed, Alan. "Middle Eastern Violin Method : A Method for Teaching and Transcribing Middle Eastern Music." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3055.

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My project is first and foremost about developing a pedagogical method for teaching Middle Eastern folk and classical music on the violin. As a secondary goal, I want to know if my own playing could benefit from applying such a method and become more skilled in expressing myself artistically on my instrument.  In order to achieve this, first, I have transcribed and notated music from different music styles of the Middle East, including Kurdish, Persian, Arabic and Turkish music and described the specific traits of these different styles. Then, I have created a method of how to represent differ
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Merati, Mohammad Ali. "Les formes fondamentales de la musique kurde d’Iran et d’Irak : hore, siâw-çamane, danses, maqâm." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100075/document.

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L’examen de différentes formes d’expression vocales et instrumentales kurdes d'Iran et d'Irak, liées à quatre dialectes, permet de dégager un idiom commun de la musique traditionnelle kurde, avec sa grammaire modale et rythmique. Cette recherche s'appuie sur des enquêtes dans les régions kurdes d’Iran et d’Irak et sur la collecte d'une centaine d'heures d’enregistrements de mélodies vocales et instrumentales. Elle prend en compte la diversité linguistique et religieuse ainsi que la place de la musique, de la poésie, de la danse et des instruments et fait apparaître une certaine unité au-delà d
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Books on the topic "Kurdisk musik"

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Mokri, Mohammad. Persico-Kurdica: Études d'ethnomusicographie, de dialectologie, d'histoire et de religion parues dans les annees 1964-1978 : mythes et mots. Editions Peeters, 1995.

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1955-1988, Ezîz Rêncber, ed. Dinya d' yo darê ma Rêncber Ezîz. Vate Yayınevi, 2012.

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Şerîf, Azad Ḧeme. Spotlights on Kurdish folk art. Badirxan Publishing House, 2012.

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Die Musik in Kurdistan. P. Lang, 1989.

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Gewherî, Hamîd. Awaz u goranî: Kurteyek le mêjûy awaz u goranî Kurdî. Hamed Gohary, Författares Bokmaskin, 1994.

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6

Nura, Cewarı̂, and Ozmanı̂an Zozan, eds. Kürt müziği, dansları ve şarkıları: Mûzik, dans û şarqı̂yên Kurdı̂. Özge, 2002.

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7

Baqî, Miḧemed Ḧeme. Mêjûy mosîqay Kurdî. Nawendî Biławkirdinewey Edeb u Ferhengî Kurdî (Sirwe), 1996.

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Mêjûy mosîqay Kurdî. 2nd ed. Dezgay Çap u Biławkirdinewey Aras, 2002.

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9

Hacıbekiroğlu, Erol. Van yöresi derlemesi. T. C. Başbakanlık, Gençlik ve Spor Genel Müdürlüğü, 1992.

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Olaylar, yansımalar ve üç Kürt ozanın hikâyesi. Sı̂, 2001.

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Book chapters on the topic "Kurdisk musik"

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Aksoy, Ozan. "Kurdish Popular Music in Turkey." In Made in Turkey. Routledge, 2017. http://dx.doi.org/10.4324/9781315764993-14.

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Buhari-Gulmez, Didem. "Rap Music in Turkey." In Advances in Media, Entertainment, and the Arts. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1986-7.ch011.

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Benefiting from the theoretical debate between grobalization and glocalization, this chapter aims to shed light on the emerging role of rap music as an alternative venue for political communication in a polarized country, Turkey. The chapter will discuss the political contributions of the selected underground Turkish rappers – Norm Ender, Sagopa Kajmer and Rapzan Belagat – on the public debate in the country about identity, human rights, and other socio-political issues that go beyond the traditional “Kemalist versus Kurdish”, “Kemalist versus Islamist”, and “Islamist versus Kurdish” divide. This study suggests that the Turkish rap and its varieties reflect a complex set of interactions between the local and the global in line with the glocalization approach.
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Blum, Stephen, and Amir Hassanpour. "‘The morning of freedom rose up’: Kurdish popular song and the exigencies of cultural survival." In Non-Western Popular Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315090450-5.

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Aksoy, Ozan. "“Wake Up!” and “Nomad”: Competing Visions of Turkish and Kurdish Environmentalism in the Music of Tarkan and Aynur." In Contested Spaces in Contemporary Turkey. I.B. Tauris, 2018. http://dx.doi.org/10.5040/9781350985841.ch-013.

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