Relevant bibliographies by topics / Turkish Folk dance music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Turkish Folk dance music'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Turkish Folk dance music"

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Dhankar, Rita. "Turkish folk dances." RESEARCH REVIEW International Journal of Multidisciplinary 6, no. 12 (2021): 86–89. http://dx.doi.org/10.31305/rrijm.2021.v06.i12.012.

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Folk-music is a very simple and intuitive science of music. It expresses the customs, way of life, food and sentiments of a particular country. Turkish folk music says the same thing. Tarkan finds a lot of mention in Turkish folk dances. In fact, Tarkan started taking special interest in folk-dances from the year 1928. The year 1941 was important in terms of changing the direction of Turkish folk dance. After the establishment of Praja Bhavan in the year 1950, the performance of folk dances had taken the form of a rich culture. Even more so, with folk-dance audiences now present in Ankara and
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Gülbeyaz, Kürşad. "Comparison of activation rates in the main muscle group in the performance of Turkish folk dances." Journal of Human Sciences 16, no. 4 (2019): 1133–44. http://dx.doi.org/10.14687/jhs.v16i4.5888.

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Folk dances are “spiritual culture” in terms of music, lyrics, movement and presentation features. Also, folk dances are the “material culture” in terms of instruments, clothes and equipment. Folk dances are intertwined with many disciplines, due to its different features such as music, instrument, language, religion, literature, history, clothes, sport, stage, art, sociology, consideration and intelligence.
 There is no folk dance without music and rhythm. However, almost all of our women's dances and most of our men's dances are verbal. Therefore, folk dances are composed of lyrics, mus
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GİRGİN, Gonca. "On the Marginal Requisites: Overview of Popular Urban Dances in Türkiye." Musicologist 7, no. 1 (2023): 93–123. http://dx.doi.org/10.33906/musicologist.1097843.

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In the sources of dance history in Türkiye, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In
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ÇINAR, Sevilay. "WOMEN IN TURKISH FOLK DANCE AND MUSIC: A CASE OF MUSICAL GATHERINGS." Journal of International Social Research 12, no. 63 (2019): 448–53. http://dx.doi.org/10.17719/jisr.2019.3202.

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Yıldırım, Oğuz, Oktay İnalkaç, Yavuz Yıldırım, Tuncay Kıratlı, and Ahmet Kara. "THE PLACE AND IMPORTANCE OF FOLK DANCES IN TURKISH FOLKLORE." Conhecimento & Diversidade 16, no. 43 (2024): 550–61. https://doi.org/10.18316/rcd.v16i43.11922.

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The subject of the research was determined as the place and importance of folk dances in Turkish folklore. The aim of the research is to reveal the place and importance of folk dances and music, which are among the phenomena in Turkish folklore, in Turkish folklore. The method of the research is a descriptive study and the current situation was tried to be revealed by examining the scientific sources obtained through the scanning method. The importance of the research is considered important in terms of revealing the place and importance of folk dances and music, which are an important element
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ÜSTÜN, Hamza. "EXAMINATION OF TURKISH MUSIC ELEMENTS IN PRIMARY SCHOOL MUSIC LESSON BOOKS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 30 (2022): 96–106. http://dx.doi.org/10.31567/ssd.580.

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In Turkey, music lessons start from the pre-school period and continue until the twelfth grade. While music teachers conduct the lesson in secondary and high school periods, this lesson is carried out by classroom teachers in primary school. Classroom teachers apply the knowledge they have learned within the scope of the music education course they have taken in the faculties they study at in primary schools. It is of great importance for primary school teachers to be able to teach the departments related to teaching Turkish music in primary schools, which has a wide range of music education.
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Aydın, Emir Cenk. "The cultural significance of the Turkish 9 rhythm: Timing, tradition, and identity." Journal of Human Sciences 13, no. 1 (2016): 2268. http://dx.doi.org/10.14687/ijhs.v13i1.3785.

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Folk music throughout Anatolia and Thrace contains significant information about a performers social experience and background. In Turkey social information is commonly communicated through rhythm. Types of traditional music, particularly types with specific rhythmic structures and patterns, are often indicative of an ethnic or regional Turkish identity, an origin or affiliation. The 9 beat rhythmic structures are very common in the Folk Music of Anatolia. They are seen nearly everywhere in different arrangements and tempo values.In this article I will discuss the 9 beat time signature and spe
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Nussipzhanova, Bibigul, and Bibigul Mukhambetzhanov. "SPECIFICS IN THE NATIONAL DANCES OF THE TURKIC PEOPLES." Central Asian Journal of Art Studies 9, no. 1 (2024): 122–34. http://dx.doi.org/10.47940/cajas.v9i1.829.

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To date, the modern picture of the cultural space is a very diverse, multi-level style palette. In this sense, the XXI century is full of colors of several epochs at once, unfolding consistently and intensively. The relevance of the topic under consideration is also due to the fact that in the period of globalization and the "capture" of the minds of modern youth by the delights of Western European culture, turning to the dances of the Turkic world is another opportunity to preserve the desired folk traditions, which, like language, dance is a reflection of the mentality, character of the nati
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YAZICI, Tarkan. "AN ASSESSMENT ON PROBLEMS THAT MUSIC TEACHERS GRADUATED FROM TURKISH FOLK DANCES DEPARTMENT ENCOUNTER DURING MUSIC LESSONS IN PRIMARY EDUCATION." INTERNATIONAL REFEREED JOURNAL OF HUMANITIES AND ACADEMIC SCIENCES 3, no. 9 (2014): 22. http://dx.doi.org/10.17368/uhbab.201498879.

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ARYOL, Hakan, and Elvan KARAKOÇ. "The Effect of Greek And Rum Identities Living in Anatolia Geography on Greek Music." Gaziantep University Journal of Social Sciences 22, no. 4 (2023): 1175–87. http://dx.doi.org/10.21547/jss.1288935.

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The different naming of societies in different regions was thought to be related to their beliefs in the geography they lived in, their jobs, or their ethnic origins in social history. A similar situation exists for the Greeks, who have lived in Anatolian lands for numerous years. Because the majority of Byzantines were Orthodox Christians, they were all referred to as Romans, regardless of ethnic origin. During the Turkish rule, the Romans were given the name Rum which means Pontic, and it was used to describe all Orthodox Christians in the Ottoman period, regardless of ethnicity. Until Greec
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Dissertations / Theses on the topic "Turkish Folk dance music"

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Kiddy, Paul. "Social dance and wellbeing : an ethnographic study of two folk social dance settings." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2052839/.

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Sociable folk dancing in the UK is an organised group activity in which a significant number of people take part, often practising folk styles which have their origins in other countries. These groups are generally not run for profit, operate under the radar of media attention, and consequentially their activities remain largely hidden from view. This thesis addresses the fact that there have been no in-depth studies of these groups. It reports on the findings of a detailed ethnographic research project, to offer in-sights into the practices and motivations of participants in social dance. The
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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.

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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war,
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Senturk, Sertan. "Computational modeling of improvisation in Turkish folk music using Variable-Length Markov Models." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42761.

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The thesis describes a new database of uzun havas, a non-metered structured improvisation form in Turkish folk music, and a system, which uses Variable-Length Markov Models (VLMMs) to predict the melody in the uzun hava form. The database consists of 77 songs, encompassing 10849 notes, and it is used to train multiple viewpoints, where each event in a musical sequence are represented by parallel descriptors such as Durations and Notes. The thesis also introduces pitch-related viewpoints that are specifically aimed to model the unique melodic properties of makam music. The predictability of the
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Balkilic, Ozgur. "Kemalist Views And Works On Turkish Folk Music During The Early Republican Period." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606528/index.pdf.

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The main aim of this thesis is to examine the characteristics of Kemalist views and works on Turkish folk music during Early Republican Period. Kemalism, as a modernization project, aimed to transform the Turkish social formation totally. In this respect, one of the indispensable dimension of this project was cultural reforms. The music policies, as a part of the cultural reforms, were given considerable attentions by the Kemalist cadres since the music, according to them, was one of the area to reflect the developmental level of a society. Their views and efforts on Turkish folk music were a
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Genet, Coline. "Dialogues between a violin and a body : How to be a dancing musician on stage ?" Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4217.

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The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in ord
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Rodhe, Agnes. "Dansens relevans i folkmusikutbildningar." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-581.

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The Relevance of Dance in Folk Music Education The aim of this study was to investigate why and how dance and dance teaching can be relevant in educational programmes in folk music in Sweden. Many of these programmes include dance within them and that fact, in combination with my observation that there is an underlying cultural assumption that dance and music belong together, inspired this research. I wished to look at the function of dance within folk music programmes, and music teachers’ observations of how dance affects their students’ playing. The study has been conducted through qualitati
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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.

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Sönmezler, Ahmet. "Turkish Musical Influences upon Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306145.

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The structure and content of Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba are heavily influenced by Turkish folk music. A stylistic and accurate performance of these pieces becomes possible through the study of Turkish folk music and its performance practices. This document provides information that may help the reader understand what some of the aspects of Turkish folk music are and show how Italian composer and guitarist Carlo Domeniconi (b. 1947) used them in two of his most popular solo classical guitar compositions. This document not only serves as an informativ
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Schmidt, Hans. "Die Sardana Tanz der Katalanen /." Hamburg : [s.n.], 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645743.html.

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King, Andrew Stewart. "The Folk-Song Society wax cylinder recordings in the English Folk Dance and Song Society wax cylinder collection : context, history, and reappraisal." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61113/.

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Books on the topic "Turkish Folk dance music"

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Figen, Bingül, ed. Hatırat: Tuna boyunca anılarla ezgiler. Pan Yayıncılık, 2007.

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Kanol, Kani. Kıbrıs halkdanslarının yakın geçmişi. Hasder Yayınları, 2006.

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Basat, Ezgi Metin. Köy seyirlik oyunlarında insan, doğa ve topluluk ilişkisi. Grafiker, 2017.

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Tietje, Margret. Kinder am Werk: Tradierte Singtänze in der Türkei. Lit, 2000.

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Jian'guo, Yan, ed. Zhong hua gui bao: Weiwu'er Mukamu. Heilong Jiang ren min chu ban she, 2006.

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Sam, Sam-Ang. Khmer folk dance. Khmer Studies Institute, 1987.

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Titan, Group. Anatolian break dance. Pharaway Sounds, 2016.

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Senoga-Zake, George W. Folk music of Kenya. Uzima Press, 1986.

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Senoga-Zake, George W. Folk music of Kenya. Uzima, 1986.

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Senoga-Zake, George W. Folk music of Kenya. Uzima, 2000.

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Book chapters on the topic "Turkish Folk dance music"

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Gustafson, Ruth Iana. "Folk Music and Dance: Imaginary Images of Modern Nationhood." In Exploring Diasporic Perspectives in Music Education. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52105-9_3.

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Karahasanoğlu, Songül. "The Rise of a Folk Instrument in Turkish Popular Music." In Made in Turkey. Routledge, 2017. http://dx.doi.org/10.4324/9781315764993-18.

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Rimas, Juozas, and Juozas Rimas Jr. "Voice and Sound." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_6.

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AbstractThe principles of rhetoric were transferred from vocal music to instrumental music. Song is an extension of speech, while instrumental music is the transfer of song to an instrument (A. Maceina). Pursuit of song-like instrumental expression (“thinking in terms of song”—C. P. E. Bach) is one of the most important forms of musicality. If the externality of the instrument disappears, in this virtuosity the foreign instrument appears as a perfectly developed organ of the artistic soul (G. Hegel).Discovering a love of singing in his teens, the author developed a vocal orientation. Later, in
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Demirbağ, İlknur. "Transformation of Traditional Dances in its Staging Process with A Specific Example of Turkey." In Güzel Sanatlar Üzerine Güncel Konular ve Araştırmalar. Özgür Yayınları, 2023. http://dx.doi.org/10.58830/ozgur.pub291.c1167.

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Turkey embodies a rich historical and geographical background, which is parallel to its cultural richness as well. Turkish Folk Dances, being a part of this traditional culture, are one of the tools that represent this richness by evolving and transforming from past to present.
 In addition to the survival of folk dances in the territories where they were originally born, these dances also expand beyond this territory due to the changing world at an increasing rate in recent years. This article sheds light on Turkish Folk Dances’ evolution and transformation experience, apart from their n
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"Music Examples." In Turkish Folk Music from Asia Minor. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867202-005.

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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0006.

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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0007.

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Manning, David. "The English Folk Dance and Song Society." In Vaughan Williams on Music. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0064.

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"List of Plates." In Turkish Folk Music from Asia Minor. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867202-001.

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"Editor's Preface." In Turkish Folk Music from Asia Minor. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867202-002.

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Conference papers on the topic "Turkish Folk dance music"

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Marolt, Matija, Janez Franc Vratanar, and Gregor Strle. "Ethnomuse: Archiving folk music and dance culture." In IEEE EUROCON 2009 (EUROCON). IEEE, 2009. http://dx.doi.org/10.1109/eurcon.2009.5167650.

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Talpa, Svetlana. "Stage folk dance versus character dance." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.09.

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In the article, the author’s main objective is to argue the need to study and capitalize on folk stage dance and character dance by comparatively assigning their methodological and aspectual features. For this purpose, the analytical method of approaching the problem is used, as well as the pedagogical aspect. Performing folk dance and character dance exploits the capacity of the mind of both a professional dancer (ballet artists) and of an amateur dancer, by educating the body in order to be aware of each movement performed. From a methodological point of view, the stage folk dance and the ch
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Kaeomak, Theerawut. "Music Composition: Lagu J-Mahmad Folk Dance for Jazz Ensemble." In – The European Conference on Arts & Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2188-1111.2023.8.

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Lu, Qinghua. "The Positioning and Development of Yunnan Folk Music Song and Dance Performances." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.19.

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Martinsone-Škapare, Katrīne. "The Cultural Heritage of Character Dance Genre in the Education of a Choreographer in Latvia." In 82nd International Scientific Conference of the University of Latvia. University of Latvia Press, 2021. http://dx.doi.org/10.22364/htqe.2024.36.

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Research in the fields of culture and arts is an important resource for the development of cultural and creative industries for the creation of new teaching methods, emphasizing the professional aspects of teaching. In professional dance education, teachers’ theoretical and practical skills, alongside their body language, are of utmost importance and are honed to perfection. The study courses are primarily based on the accepted knowledge of history and cultural heritage, preserving these values as a continuation of traditions in the dance industry. The author has chosen the genre of character
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Guo, Zhenhua, and Jun Yang. "The Folk Custom Projection of Bloodline Heritage of Ethnic Group - Inspection and Analysis of Gejia People's Music and Dance." In International Conference on Education, Management, Computer and Society. Atlantis Press, 2016. http://dx.doi.org/10.2991/emcs-16.2016.125.

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Bolya, Mátyás. "A digitális gyűjtésrekonstrukció lehetőségei: az Ethiofolk projekt." In Networkshop. HUNGARNET Egyesület, 2023. http://dx.doi.org/10.31915/nws.2023.15.

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In June, 1965, two young researchers arrived in Addis Ababa at the invitation of Emperor Haile Selassie. The purpose of György Martin (folk dance researcher) and Bálint Sárosi’s (folk music researcher) journey was to examine and explore traditional Ethiopian folklore. They were members of the Folk Music Research Group of the Hungarian Academy of Sciences, whose head was Kodály at that time. From their home institution they had received internationally renowned knowledge and expertise in folk music research, thus they wished to be among the first to explore Ethiopian folklore. Thus, one of the
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Cazac, Radu. "Trio for violin, clarinet and piano by Oleg Negruța: characteristic aspects of language." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.08.

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The author’s aim is to study some structural and language elements applied in the work Trio for violin, clarinet and baritone by Oleg Negruța. Following the detailed analysis of the creation Trio for violin, clarinet and piano by O. Negruța, we point out that the given work consists of three contrasting parts according to the tempo Allegro con fuoco-Andante cantabile-Allegro vivace, in which the author is based on the tradition of classical and romantic music harmoniously combined with elements of the folkloric musical language. We can say that in part I, the direction of classical music preva
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Demirović Bajrami, Dunja. "PRESERVATION OF INTANGIBLE CULTURAL HERITAGE THROUGH DIGITAL STORYTELLING." In Book of Abstracts and Contributed Papers. Geographical Institute "Jovan Cvijić" SASA, 2024. http://dx.doi.org/10.46793/csge5.52ddb.

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The preservation of intangible cultural heritage, including oral traditions, folklore, music, and traditional crafts, is crucial for maintaining the cultural identity and continuity of communities. In Serbia, a country rich with diverse cultural expressions, these intangible heritage elements face threats from globalization, modernization, and demographic changes. This paper investigates the role of digital storytelling as a tool for preserving and revitalizing intangible cultural heritage in Serbia, highlighting specific case studies where digital initiatives have been used to document and pr
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Reports on the topic "Turkish Folk dance music"

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Karki, Shanta, Marina Apgar, Mieke Snijder, and Ranjana Sharma. Learning from Life Story Collection and Analysis With Children Who Work in the Worst Forms of Child Labour in Nepal. Institute of Development Studies, 2022. http://dx.doi.org/10.19088/clarissa.2022.007.

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The CLARISSA Nepal team collected and analysed 400 life stories of children and young people engaged in or affected by the worst forms of child labour (WFCL), particularly in the “Adult Entertainment” sector in Nepal, which includes children working in Dohoris (restaurants playing folk music), dance bars, spa-massage parlours, khaja ghars (tea/snack shop) and guest houses. Stories were also collected from children in CLARISSA’s focus neighbourhoods, children in this category include street connected children and those working in transportation, party palaces, domestic labour and construction s
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