The resistance of the Turkish makam and the habitus of a performer. Reflections on a collaborative CD-project with erdem helvaciolu
I will take a recent CD-project as point of departure, a collaboration with the Turkish composer and electronic musician Erdem Helvaciolu. We did a series of recording sessions in Istanbul in December 2009 for which we agreed to use the Turkish makam as common point of departure in all the pieces. I...
Saved in:
| Published in: | Contemporary music review Vol. 32; no. 2-3; p. 201 |
|---|---|
| Main Author: | |
| Format: | Journal Article |
| Language: | English |
| Published: |
01-06-2013
|
| Subjects: | |
| Online Access: | Get full text |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | I will take a recent CD-project as point of departure, a collaboration with the Turkish composer and electronic musician Erdem Helvaciolu. We did a series of recording sessions in Istanbul in December 2009 for which we agreed to use the Turkish makam as common point of departure in all the pieces. In this paper I will discuss the resistance of this material and specifically the relation between the resistance and the habitus of a performer. In the sessions we agreed to approach the different makam by applying different scordaturas to the instruments. I will develop on the resistance of the instrument with regard to this phase, also looking back at Kent Olofsson's Il Liuto d'Orfeo. |
|---|---|
| ISSN: | 0749-4467 |
| DOI: | 10.1080/07494467.2013.775812 |