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ÖgeA phenomenological approach to sufi culture, ritual structure and its subjective experience in Kādirîhâne(Graduate School, 2022-06-22) Güner, Burçin Bahadır ; Tanır Özgün, Emine Şirin ; 409152001 ; MusicSufi rituals have been an important part of cultural and religious life in the Ottoman period. At the beginning of the 20th century, it is known that there were approximately 400 Sufi lodges (tekke) of various orders (tarikat) in İstanbul. In 1925, all Sufi lodges were closed and their activities were banned by the Turkish Republic. Even though they have disintegrated, some of them have been able to continue their traditions. Today, several tarikat perform their rituals and ceremonies. This study examines the Kadirî dhikr ritual in Istanbul. The Rûmî branch of the Kadirî order was established by pîr İsmail Rûmî in the early 17th century. The Kadirîhâne that he built in İstanbul, Tophane in 1631 was later considered as the center tekke (âsitâne) of the Kadirî order in Ottoman geography. Rûmî Kıyam Usûlü or Kıyam Zikri/Ayini is the name of the weekly public ritual among various other rituals and ceremonies. The purpose of this study is to understand the form and structure of the ritual in conjunction with the surrounding culture, and especially to describe the subjective experience of the participant. The study incorporates fieldwork, ethnography, transcription, translation, musical analysis and phenomenological description. In order to grasp the essence of the ritual, the study follows an outside-in path. First, it categorizes and explains the contents of the ritual in the context of the Sufi culture at the Kadirihane. Then, the author describes the ritual first from the third and then the first person's point of view in dedicated chapters. These methodological steps and their requirements are discussed in the first introductory chapter. Chapter 2, Ritual Content, presents the culture (lifeworld) around the ritual. With a phenomenological stance, it categorizes certain concepts from the ritual and explains them with reference to the culture and related literature. The first category, processual, explains the formal organization of the ritual; while the şeyh/postnişin conducts the ritual, participants establish an ostinato polyphony by providing rhythmical chants (dervişler) and songs/recitations (zakirler). The next category, procedural, focuses on what a regular participant performs and/or perceives in the ritual. In this way, certain concepts and behaviors are examined in and out of the ritual. The description in the next chapter builds on this ritual understanding. Chapter 3, Ritual Structure, is a musicological analysis and an objective description of the ritual. This Sufi ritual is a participatory performance and does not allow an outside observer. This means that the observer naturally becomes a part of the zikr circle. However, every detail of the âyin is described, transcribed and analyzed in depth from the perspective of a third person. The weekly ritual consists of Kuud (sit) and Kıyam (stand) sections. First section, Kuud, starts with the Evrâd-ı Şerif, a composed monophonic and axial group chanting that takes approximately 15 minutes. The text is known to be composed by the pîr Abdülkâdir Geylânî (d. 1165), the founder of the Kadirî order. It starts with some verses from the Quran and the rest consists of various salavats (divine blessings and salutations) upon the Prophet Muhammed. Then, participants start to chant La ilahe illallah (There is no god but Allah). While participants (dervişler) chant this phrase, musicians (zakirler) perform songs and recitations over the ostinato of the chant. Lastly, after the Kelime-i Tevhid, one zakir performs a durak ilahisi that allow participants to rest (durak) before standing up for Kıyam. As all participants stand up, they begin to perform a cumhur ilahi and then continue with another ilahi: kıyam durak. After this point, participants perform 5 divine phrases (esmâ) (Hayyul Kayyum Allah; Hay; Allah Allah Hay; Allah and Hu) in succession with metrical sways, while zakirler sing over them. The âyin is concluded with the Verse of Light (Nur 24/35) from the Quran. In Chapter 4, Ritual Experience, the author shares his subjective experience to show the dynamics of meaning and the sense of ritual. Therefore, the phenomenological description takes the form of an intimate narrative. This narrative description takes into account all multisensory details and their connotations. Also, all texts are interpreted from the inside of the ritual participation and performance. As a conclusion, chapter 5 summarizes all findings of the thesis. The concept of zikir, as being the main motivational concept for ritual, precedes both structure as well as the experience of it. The reciprocity between God and Human is symbolized with the rememberer and the remembered. The encounter with the being is presented as the ultimate goal of the zikir. Also, the processual form of the ritual symbolizes propriety (edep) and beauty (güzel) both of which lead one to the union (vahdet) with God.
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ÖgeLeft-leaning protest music tradition in Turkey (1960s-1990s) and the case of Ahmet Kaya(Graduate School, 2023-10-05) Özer, Diler ; Oğul, Belma F ; 409092003 ; MusicThis thesis is a discussion of the left-leaning protest music tradition in Turkey discussed with regard to the key references, approaches and musical sources, and focuses on the case of a protest singer-song writer, Ahmet Kaya (1957-2000) as both a re-connection with and a rupture from that tradition. The thesis is constructed around two axes: Within the scope of the first axis, the study focuses on describing and interpreting the tradition of musical protest in any way related with the Leftist/Socialist thought and movement in Turkey from 1960s to 1990s. As the second axis, the study focuses on examining the case of Ahmet Kaya as both a 're-connection with' and a 'rupture from' the left-leaning protest music tradition in Turkey as well as analyzing his musical accumulation in personal, socio-political and musical terms. Hence, by using Ahmet Kaya example as a key, the study aims to make a critical reading of the 'protest' character of the mentioned musical field in terms of what was included and excluded by the said tradition. Ahmet Kaya is a singer-songwriter; he composed and performed his own songs. Nearly half of the songs are with his own lyrics and he also composed the poems of various poets from first generation socialists to the younger poets of his period. While producing his songs, he was influenced by the social-political conditions of the period and reflected these through his music. He made music not only to establish bonds with the oppressed victims of the society, to be their voice and give them morale and strength, but also to mark history and create documents. In this sense, Kaya's music has a truth-bearing and protest character. At the same time, music is for him a form of self-expression, a means of establishing his own identity and empowering himself. He also challenged the dominant music making styles of his time. For example, he incorporated arabesk and Turkish classical music elements to his music, which were considered inferior in left culture then. That distinguishes him from many other protest musicians of the period. Because of all this, he was exposed to many criticisms throughout his life -from his music to his lifestyle- and even his music was called as arabesk. These criticisms also affected the way he defined and produced his own music; sometimes it took the form of rejection, rebellion and defiance, and sometimes acceptance. On the other hand, Kaya produced and presented his music in the field of popular music and intertwined with market conditions. In addition to traditional styles from folk to Turkish classical music, he incorporated elements from local popular forms such as arabesk and global popular genres such as rock and pop. It is possible to see various musical influences in his music. This led to his mixed musical style which also helped his audience from various sections of the society to be connected with his music. On the other hand, due to the political conditions of the period and the fact that the market was so involved in his music making, he could not make radical exit as he wished; for example, he could not include a Kurdish song in his repertoire until his last album. This decision started the lynching campaign against him that led to his death in exile. Nevertheless, Ahmet Kaya became an icon in the eyes of the revolutionary youth of the period and especially Kurdish people together with the 90s. It is possible to say that the freedom struggle of the Kurdish people has been symbolized through Ahmet Kaya. In this thesis it was argued that due to the above-mentioned elements in personal, musical and political terms, Ahmet Kaya should be evaluated as a popular and distinctive figure and a divergent example of the mentioned left-leaning protest music tradition in Turkey.
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ÖgePlay it all!: String ensembles in the Turkish music industry(Graduate School, 2022-06-24) Şener, Serkan ; Oğul, Belma ; Reigle, Robert F ; 409092005 ; MusicThe thesis entitled "Play It All!: String Ensembles in the Turkish Music Industry" issues certain topics related with the phenomenon of string ensembles which have been one of significant elements in the Turkish music industry since the late 1960s. The research is a product of an ethnographic inquiry. Apart from participant observations and interviews, ethnomusicological literature and commercial recordings from the recording history of Turkish music sourced the investigation. The string ensemble in Turkish Music Industry is a product of modernization trials performed by significant actors from diverse backgrounds during the foundation of the musical genre called arabesk music. The works and efforts of significant actors of arabesk music were examined to set a ground for the foundation of the string ensembles. One of the findings of the thesis is the fact that arabesk music and string ensemble as its trademark were cultivated by diverse backgrounded musicians from the musical scene. However, some of them, such as Suat Sayın, Orhan Gencebay, Vedat Yıldırımbora, and Mustafa Sayan came forward as the most influential modernizers who impacted the music industry and followed by others. The very existence of the string ensemble shifted the musical style of the popular makam musics in terms of sonic range, timbre, melodic structures, form, and polyphony; which were elaborated in several sections of the text. Certain issues related with local and global styles, Arab influence, and social organization of arabesk musicians were addressed in the thesis. String ensembles have been dominated with Romani musicians since their foundation. The issues focusing on the social organization of the string ensembles with a special attention on the flexibility and networking of the string musicians in the marketplace promises a sublime data for the reader. In chapter 3, the findings from the field about performer profiles and cultivation processes of the Romani families and individuals as well as institutionalization processes which led to competition among the string ensembles were narrated. Performers of the string ensembles developed their musical tradition throughout history. As they provide service for the music industry, they adapted to changes in stylistic and aesthetic tendencies, economic fluctuations, and technological developments. In order to sustain their status in the marketplace they cultivated a musicianship which enabled them to perform any musical demand of actors who shape the musical scene. Meanwhile, their active participation in the productions transcend their significance towards active individuals and communities who shape the music.