Balkan Popular Culture and the Ottoman Ecumene: Music, by Donna A. Buchanan, Margaret H. Beissinger, Kevin Dawe,

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 impressive similarities chanced on between modern Balkan well known song exhibit the area because the web site of a thriving inventive discussion and interchange. The eclectic interweaving of stylistic gains evidenced by means of Albanian advertisement folks tune, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to call a couple of, issues to an emergent local pop culture circuit extending from southeastern Europe via Greece and Turkey.

While this circuit relies upon older cultural confluences from a shared Ottoman history, it additionally has taken form in lively counterpoint with various local political discourses. Containing 11 ethnographic case reports, Balkan pop culture and the Ottoman Ecumene: tune, photo, and nearby Political Discourse examines the interaction among the musicians and renowned track sorts of the Balkan states throughout the past due Nineties. those case reviews, every one written by means of a longtime nearby 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 publication is observed through a VCD that incorporates a picture gallery, sound documents, and tune video excerpts.

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Extra resources for Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea : Ethnomusicologies and Modernities)

Sample text

2 One theory holds that Üsküdara served as an Ottoman Janissary march song commemorating either the Turkish sacking of Constantinople in 1453 or the 1877 Russian seige of Pleven, a Bulgarian city held by the Turks during the Russo-Turkish war that resulted in Bulgaria’s emancipation from Ottoman rule. In both contexts the song’s first line, “On the way to Üsküdar,” is thought to have symbolized the soldiers’ homeward trek to the Ottoman capital. 3 Buchanan Üsküdara gider iken ald2 da bir ya—mur.

Further evidence that Üsküdara circulated as a Õark 2 comes from Russia, where it appears in the compendium Opyty Hudozhestvennoi Obrabotki Narodnykh’ Piesen’, Tom 1 [Experiments in artistic arrangements of folk songs, Volume 1], published in M oscow in 1913 under the Buchanan Üsküdara gider iken bir mendil buldum, Mendilin içine Õeker doldurdum. Ben yar2m2 arar iken koynumda buldum. Going to Üsküdar I found a handkerchief, And filled it up with Turkish delight. While I was looking for my lover I found him in my arms.

The little freckles that are your torment. Ante ksene sire, sire sto kalo, ki is to yirismo sou peras’ apo do. Go away, guest, farewell, and on your way back home, stop by again. 3: Apo kseno topo ki ap alaryino. Dragoumis 1991:392, No. 33. Translated from the Greek by Ioannis Tsekouras. of the Turkish song, are a metaphor of the couple’s romantic wealth. The handkerchief is found by another eligible maiden, often the daughter of a local priest, with whom he flirts and to whom he offers the gold in return for the handkerchief.

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