Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using inte...Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.展开更多
Mete Sakpmar, who was born in Ankara, May 5, 1954, is a contemporary Turkish composer. His compositions were played in various countries like Turkey, France （1980-1983）, Canada, Australia, Sweden, Norway, Hungary, A...Mete Sakpmar, who was born in Ankara, May 5, 1954, is a contemporary Turkish composer. His compositions were played in various countries like Turkey, France （1980-1983）, Canada, Australia, Sweden, Norway, Hungary, Albania, Belgium, Holland, and German, and he also joined lots of seminars, radio, and television programs. His inspirational sources are traditional Turkish music, modern French music, American cultural traditions, as well as jazz, acoustic, and electronic music. His music, in summary, is about taking a little from tonality, twelve-note system, coincidences, improvisations, etc., and joining them with his own experiences like emotions, knowledge, and intelligence. Sakpmar always defends that the composer of the day has to benefit from lots of various sources. He is doing this as well as trying new forms in every new piece. It does not matter if these are tonal, atonal, serial, or modal but it must be personal. All the borders and capacities of the instruments have to be forced.展开更多
文摘Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.
文摘Mete Sakpmar, who was born in Ankara, May 5, 1954, is a contemporary Turkish composer. His compositions were played in various countries like Turkey, France （1980-1983）, Canada, Australia, Sweden, Norway, Hungary, Albania, Belgium, Holland, and German, and he also joined lots of seminars, radio, and television programs. His inspirational sources are traditional Turkish music, modern French music, American cultural traditions, as well as jazz, acoustic, and electronic music. His music, in summary, is about taking a little from tonality, twelve-note system, coincidences, improvisations, etc., and joining them with his own experiences like emotions, knowledge, and intelligence. Sakpmar always defends that the composer of the day has to benefit from lots of various sources. He is doing this as well as trying new forms in every new piece. It does not matter if these are tonal, atonal, serial, or modal but it must be personal. All the borders and capacities of the instruments have to be forced.
