The resistance of the Turkish makam and the habitus of a performer. Reflections on a collaborative CD-project with erdem helvaciolu
(2013) In Contemporary Music Review 32(2-3). p.201-213- Abstract
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.
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/7d40f9d7-0bac-43ec-8165-fa372dd97f34
- author
- Östersjö, Stefan LU
- organization
- publishing date
- 2013-06-01
- type
- Contribution to journal
- publication status
- published
- keywords
- Habitus, Instrument, Musical Experiment, Musical Tradition
- in
- Contemporary Music Review
- volume
- 32
- issue
- 2-3
- pages
- 13 pages
- publisher
- Routledge
- external identifiers
-
- scopus:84878187845
- ISSN
- 0749-4467
- DOI
- 10.1080/07494467.2013.775812
- language
- English
- LU publication?
- yes
- id
- 7d40f9d7-0bac-43ec-8165-fa372dd97f34
- date added to LUP
- 2016-09-07 13:43:10
- date last changed
- 2022-02-21 20:18:39
@article{7d40f9d7-0bac-43ec-8165-fa372dd97f34, abstract = {{<p>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.</p>}}, author = {{Östersjö, Stefan}}, issn = {{0749-4467}}, keywords = {{Habitus; Instrument; Musical Experiment; Musical Tradition}}, language = {{eng}}, month = {{06}}, number = {{2-3}}, pages = {{201--213}}, publisher = {{Routledge}}, series = {{Contemporary Music Review}}, title = {{The resistance of the Turkish makam and the habitus of a performer. Reflections on a collaborative CD-project with erdem helvaciolu}}, url = {{http://dx.doi.org/10.1080/07494467.2013.775812}}, doi = {{10.1080/07494467.2013.775812}}, volume = {{32}}, year = {{2013}}, }