- Part of 'A topology of musical encounter' (summary) -
Contextualistics relate primarily to the interpretation and historical–social surrounding of music, and only indirectly to the actual music itself. A collective on the basis of a contextual connection should be viewed as strongly dependent on the relation of the context to other levels of the musical consciousness.
“In my place of birth West-Anatolie we have a musical tradition of epic song on richly ornamented melodies. The texts tell the stories of the Zeybecks, who always have struggles among each other about the adoration of a woman. They are good bandits that steel from the rich and give to the poor, a sort of Turkish Robin Hoods. On the one hand they have their gun to fight and on the other their saz to play their song. The battle between war and poetry. Usually the one brother sing about the murder of the other, what happened, who did it and why. This music you play exclusively at night, not before ten o clock. These stories cannot stand the sunlight and childrens ears. “
- in conversation with Ceylan Utlu, saz player and singer
When I heard Ceylan speak about the time of the day this music belongs to I directly linked this to North-Indian classical music, where the ragas are connected to specific times of the day. A hands-on musical investigation into Turkish and North-Indian interpretations of the musical means that belong to the late-night hour would be a good example of a contextualistic bringing together musicians on a firm basis for musical collaboration. But the research of the collective would then mainly focus on the interrelation of other musical elements, the material connections of melodies, scales and ornamentation, and the conceptual approaches in developing music out of them.
In many cases the one individualistic leads into the other, or connects not on one but several levels of the personal reality. A basic rule seems to be that using one idividualistic as a collective dimension implies a secondary understanding of shared individualistics on another field, possibly leading to a third and fourth layer of directly connected personal aspects. All of these level of the musical consciousness highlight each other and the more advanced the investigation of their interrelation gets, the more clear the shape of a musical encounter should take, comes into focus.
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