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Experiencing Armenian Music in Turkey: An Ethnography of Musicultural Memory is structured to explore different domains of cultural memory encoded in and conveyed through Armenian musicking practices. Burcu Yildiz discusses the sounds, performance practices and discourses in terms of her personal journey and multi-sited ethnographic experiences rather than as an attempt to describe Armenian music in Turkey. The author offers a critical look at various issues including historical framework on the possibilities of expression concerning Armenian music in Turkey; yerki bari khump (Song and Dance Ensemble) performances and choir singing as a cultural recovery of Istanbul Armenians; Gomidas Vartabed's legacy and the notion of 'the authenticity of Armenian music'; the performance of 'homeland' in diaspora via the musical identity and life story of Onnik Dinkjian; and the process of 'constructing self' by means of musical representation of Arto Tuncboyaciyan. Through in-depth ethnographic analysis, Yildiz sheds light on the musical plurality and thereby endeavor to understand the influence of hybridity and transnational circulation on Armenian music. The issue of Armenian musicking, which the author has discussed as carrier of cultural memory and a performative compound of identity, is simultaneously an expression of the loss experienced in 1915, and a means of dealing with that loss. The book will be of interest to the students and academics not only in ethnomusicology but also anthropology and cultural studies.
Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study.
A young Armenian-American goes to Turkey in a "love thine enemy" experiment that becomes a transformative reflection on how we use—and abuse—our personal histories Meline Toumani grew up in a close-knit Armenian community in New Jersey where Turkish restaurants were shunned and products made in Turkey were boycotted. The source of this enmity was the Armenian genocide of 1915 at the hands of the Ottoman Turkish government, and Turkey's refusal to acknowledge it. A century onward, Armenian and Turkish lobbies spend hundreds of millions of dollars to convince governments, courts and scholars of their clashing versions of history. Frustrated by her community's all-consuming campaigns for genocide recognition, Toumani leaves a promising job at The New York Times and moves to Istanbul. Instead of demonizing Turks, she sets out to understand them, and in a series of extraordinary encounters over the course of four years, she tries to talk about the Armenian issue, finding her way into conversations that are taboo and sometimes illegal. Along the way, we get a snapshot of Turkish society in the throes of change, and an intimate portrait of a writer coming to terms with the issues that drove her halfway across the world. In this far-reaching quest, told with eloquence and power, Toumani probes universal questions: how to belong to a community without conforming to it, how to acknowledge a tragedy without exploiting it, and most importantly how to remember a genocide without perpetuating the kind of hatred that gave rise to it in the first place.
After the Armenian genocide of 1915, in which over a million Armenians died, thousands of Armenians lived and worked in the Turkish state alongside those who had persecuted their communities. Living in the context of pervasive denial, how did Armenians remaining in Turkey record their own history? Here, Talin Suciyan explores the life experienced by these Armenian communities as Turkey's modernisation project of the twentieth century gathered pace. Suciyan achieves this through analysis of remarkable new primary material: Turkish state archives, minutes of the Armenian National Assembly, a kaleidoscopic series of personal diaries, memoirs and oral histories, various Armenian periodicals such as newspapers, yearbooks and magazines, as well as statutes and laws which led to the continuing persecution of Armenians. The first history of its kind, The Armenians in Modern Turkey is a fresh contribution to the history of modern Turkey and the Armenian experience there.
From genocide, forced displacement, and emigration, to the gradual establishment of sedentary and rooted global communities, how has the Armenian diaspora formed and maintained a sense of collective identity? This book explores the richness and magnitude of the Armenian experience through the 20th century to examine how Armenian diaspora elites and their institutions emerged in the post-genocide period and used “stateless power” to compose forms of social discipline. Historians, cultural theorists, literary critics, sociologists, political scientists, and anthropologists explore how national and transnational institutions were built in far-flung sites from Istanbul, Aleppo, Beirut and Jerusalem to Paris, Los Angeles, and the American mid-west. Exploring literary and cultural production as well as the role of religious institutions, the book probes the history and experience of the Armenian diaspora through the long 20th century, from the role of the fin-de-siècle émigré Armenian press to the experience of Syrian-Armenian asylum seekers in the 21st century. It shows that a diaspora's statelessness can not only be evidence of its power, but also how this “stateless power” acts as an alternative and complement to the nation-state.
This Handbook discusses the new political and social realities in Turkey from a range of perspectives, emphasizing both changes as well as continuities. Contextualizing recent developments, the chapters, written by experts in their fields, combine analytical depth with a broad overview. In the last few years alone, Turkey has experienced a failed coup attempt; a prolonged state of emergency; the development of a presidential system based on the supreme power of the head of state; a crackdown on traditional and new media, universities and civil society organizations; the detention of journalists, mayors and members of parliament; the establishment of political tutelage over the judiciary; and a staggering economic crisis. It has also terminated talks with the Kurdistan Workers Party (PKK); intervened in and occupied mountainous border areas in northern Iraq to fight that organization; occupied Afrin and strips of territory in northern Syria; intervened in Libya; articulated an assertive transnational politics toward “kin” across the world; strained its relations with the European Union and the US, while developing relations with Russia; flirted with China’s intercontinental Belt and Road Initiative; and carved out a presence in Africa, to name just a few of the most recent developments. This volume provides a comprehensive and wide-ranging overview of the making of modern Turkey. It is a key reference for students and scholars interested in political economy, security studies, international relations and Turkish studies.
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div
Avoiding the sterile "was-it-genocide-or-not" debate, this book will open a new chapter in this contentious controversy and may help achieve a long-overdue reconciliation of Armenians and Turks.