By Donna A. Buchanan, Margaret H. Beissinger, Kevin Dawe, Gabriela Ilnitchi, Vesa Kurkela, Svanibor Pettan, Ljerka Vidic Rasmussen, Carol Silverman, Martin Stokes, Jane C. Sugarman
Because the early 20th century, "balkanization" has signified the customarily militant fracturing of territories, states, or teams alongside ethnic, spiritual, and linguistic divides. but the notable similarities came upon between modern Balkan well known track exhibit the quarter because the web site of a thriving inventive discussion and interchange. The eclectic interweaving of stylistic good points evidenced through Albanian advertisement people tune, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to call a number of, issues to an emergent nearby pop culture circuit extending from southeastern Europe via Greece and Turkey.
While this circuit is based upon older cultural confluences from a shared Ottoman background, it additionally has taken form in lively counterpoint with quite a few local political discourses. Containing 11 ethnographic case reports, Balkan pop culture and the Ottoman Ecumene: song, picture, and nearby Political Discourse examines the interaction among the musicians and well known track sorts of the Balkan states through the past due Nineteen Nineties. those case reviews, every one written by means of a longtime neighborhood professional, surround a geographical scope that comes with Albania, Bosnia and Herzegovina, Bulgaria, the Republic of Macedonia, Croatia, Slovenia, Romania, Greece, Turkey, Serbia, and Montenegro. The booklet is observed by way of a VCD that includes a photograph gallery, sound documents, and song video excerpts.
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Additional resources for Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea : Ethnomusicologies and Modernities)
9: Apo tin Athina/Azizie, as perfomed by Sophia Bilides on her CD Greek Legacy. Translated from the Greek by Ioannis Tsekouras. fire that burned the city of Smyrna, these exchanges brought an influx of professional musicians formerly associated with Istanbul’s gazino nightlife into the Greek capital. At this time it became common for café-amans to hire small orchestras of mixed Turkish or Greek (kanun, ud, sandouri, laouto, defi, zilia) and W estern European instruments (violin, clarinet) called kompanies (similar to the Turkish gazino ensembles), whose performances were situated in a designated space at one end of the café.
It is also possible, however, that klezmer musicians learned the tune through their Turkish brethren. As noted above, Jews were deeply involved with the performance of Ottoman Turkish music. Some Turkish Jews apparently found the melody so appealing that they set to it the Hebrew poem Yodukha Rayonai, written by Rabbi Israel ben Moses Najara (1555–1625), to create a pizmon, or devotional song. 25 The name of the group signifies a style of poetry embraced by Najara, whose manuscripts also provide melodies to which his divan-s should be sung.
Oh, what hair you have, do you regret it? ” “Oh, what a honeyed mouth you have, do you regret it? 17: Ala, tsuro, kose imash. As sung by Zorka Drempeti. Transcribed by Anna Ilieva. Originally published in Katsarova 1973:128–29. sentimental, rubato, and lavishly ornamented accordion style resembles that sometimes associated with the accompaniment of Italian love songs, Buchanan 35 and the overall aesthetic is one of nostalgia and schmaltz frequently characterizing urban songs of this era. 18: Cherni ochi imash, libe.
Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea : Ethnomusicologies and Modernities) by Donna A. Buchanan, Margaret H. Beissinger, Kevin Dawe, Gabriela Ilnitchi, Vesa Kurkela, Svanibor Pettan, Ljerka Vidic Rasmussen, Carol Silverman, Martin Stokes, Jane C. Sugarman