LEE- Müzik-Doktora
Bu koleksiyon için kalıcı URI
Gözat
Konu "Flamenko müzik" ile LEE- Müzik-Doktora'a göz atma
Sayfa başına sonuç
Sıralama Seçenekleri
-
ÖgeTwenty-first century flamenco: Experiencing tradition and transmission(Lisansüstü Eğitim Enstitüsü, 2021) Foggo, Robin George ; Tanır Özgün, Emine Şirin ; 708468 ; MüzikWhile flamenco is a strong cultural symbol of identity in Andalusia, it is also a genre that has many dedicated participants outside its original geographical area of genesis. This makes flamenco an ideal case study to examine the various contemporary paths that lead an outsider to an understanding of a musical practice. This thesis asks what aspects of the flamenco tradition are transmitted to outsiders. It also examines how it is transmitted nowadays and what this means to the tradition. The research methods employed were a combination of autoethnography, participant observation, virtual ethnography, and source analysis. I initially gathered material in the form of recorded guitar lessons, lesson notes as a learner, as well as ethnographic notes on all facets of my fieldwork, taking particular interest in aspects that contributed to my musical growth within the style. As I employed various media and contemporary methods of acquisition, it became clearer that how a tradition is transmitted is part of the tradition itself. This realization led me to treat a wider range of materials as source texts for analysis. These included guitar methods, interviews, books and articles, audio recordings, online communication, films, concert notes, letras, films and documentaries, lesson notes from my teachers, photos, and interactions between members of my target community. The process left me with a huge amount of source material, and as I categorised it certain patterns emerged. While organizing these patterns into themes, somewhat along the lines of grounded theory, the shape of this thesis emerged. To answer the main questions of this thesis I survey the main historical narratives of flamenco and associated identities, and demonstrate how the identities are manifest within the tradition. By examining musical forms, the flamenco aesthetic and certain socio-cultural performance contexts, I reveal the main markers of the flamenco style. I give examples of the lack of consensus on several aspects of the style within the community and argue that they reflect the interests of the various stakeholders. I also show that knowledge of the style is communal, and no one source has a monopoly on information. I argue that the antagonism between nuevo and puro supporters within the flamenco community is influenced by more general differences of human psychology and reflects the wider ongoing conflict between radical/conservative thought. I also highlight several obstacles that must be negotiated by a learner from outside the tradition. These challenges include conflicting information, a lack of standardization, and communication issues regarding language and jargon. I include a discussion centred on the interaction I had with my various teachers. Teaching methods and the underlying theories are embodied in the teaching practices I describe and complete the portrait of a learner journey. Examples are given that demonstrate the benefits and pitfalls encountered by a contemporary learner. Additionally, I show that not all aspects of the style are widely or explicitly taught. Some teachers are unaware of what they know, some cannot communicate it, and some simply do not know. The subject of explicit knowledge is also broached when I analyse different forms of notation and reveal what aspects of the style can be notated, what can't, what is purposely included, and what is omitted. I contend that this illustrates the importance different authors place on these aspects, and what knowledge they believe is tacit. While exploring these topics, we understand more fully the actors involved in imparting the tradition and the experiences of those to whom it is transmitted. I show that the various ways a style can be acquired outside the traditional areas of transmission leads to a more diverse pool of learners, who in turn become transmitters in their own right. I contend that this situation will present an increasing challenge to concepts linking identity and ownership of the music as the participant demographic continues to shift. I reveal that flamenco is a malleable tradition, and often being reinterpreted. I show that access to information technologies and international travel has changed the learning environment, made the acquisition of the style less challenging, and is creating new communities that still retain the key themes that make flamenco an identifiable musical culture.