Denise Gill analyzes how the melancholies intentionally cultivated by Turkish classical musicians, typically dismissed as the remnants of Ottoman nostalgia, emerge as reparative, pleasurable, and spiritually redeeming. Melancholic Modalities intervenes in debates about music and affect, and offers new, innovative methodologies of rhizomatic analysis and bi-aurality for researchers.
Denise Gill analyzes how the melancholies intentionally cultivated by Turkish classical musicians, typically dismissed as the remnants of Ottoman nostalgia, emerge as reparative, pleasurable, and spiritually redeeming. Melancholic Modalities intervenes in debates about music and affect, and offers new, innovative methodologies of rhizomatic analysis and bi-aurality for researchers.
Denise Elif Gill is an ethnomusicologist specializing in the musics of Turkey and former Ottoman territories. Her research engages music-making and affective practice, Islam, health, gender/sexuality, sound studies, and post-humanism. Her work has been funded by Fulbright and by the American Council of Learned Societies (ACLS).
Inhaltsangabe
* Table of Contents * List of Figures * List of Examples * Acknowledgements * Conventions * Preface * Introduction * Melancholic Modalities * Rhizome One: "Turkish Classical Music" * Rhizome Two: Repertoires of Melancholies * Rhizome Three: The Practice of Affect * Rhizome Four: The Islamic Roots of Musicians' Melancholic Routes * Following the Rhizomes of Melancholic Modalities * Chapter One - The Melancholic State of Turkish Classical Music * Reforms as Roots * Cultural Policies and the Politics of Naming * Ottoman Music and the Turkish Nation-State * "Shaping Ears and Hearts": Emergent Media Practices * Institutional Changes for Practices of Musical Transmission * Neoliberalism, Islamic Movements, and the Privileges of Privatization * Death of a Genre * Chapter Two - Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment * Sufism as Separation * Hu as Sound * Hu as Instrument Technique * Hu as Sacred Embodiment * Hu as Istanbul * From Life to Death and Sound to Silence * Chapter Three - Melancholic Genealogies: Rhizomatic Listening and Bi-Aurality in Practice * Learning Melancholy, Learning Love * Understanding Mesk * Learning from a Master * Learning with Notation * Becoming Your Lineage * Bi-Aurality and the Problem of Assumed Listening Geographies * Genealogy, Orientalism, and Orientations * Listening Like a Ney * Case Studies: Listening Rhizomatically to Me?k Lineages * Learning Music as the Practice of Melancholy * Chapter Four -- Boundaries of Embodiment in Sounded Melancholy * Rendering Melancholy Musical * Embodying Gender, Melancholy, and the Boundaries Between * The Body's Boundary: Melancholic Musicking and Tears * Sema and Sama' * Conclusion: Living with the Boundary * Chapter Five -- Melancholic Musicking, Healing, and Reparation * Melancholy as Illness * Musical Modes as Music Therapy * Melancholy and Health between "East" and "West" * Iconic Melancholic Musicians: Neyzen Tevfik * Melancholic Musicking: "There is No Medicine" * Musicking as Food for the (Melancholic) Soul * Suffering as Remedy: What to Take Away from Melancholic Musicking * Conclusion -- Affect in Ethnomusicology and Beyond * Bringing the Rhizomes of Turkish Classical Musicians to Bear beyond the Academy * Bibliography * Discography
* Table of Contents * List of Figures * List of Examples * Acknowledgements * Conventions * Preface * Introduction * Melancholic Modalities * Rhizome One: "Turkish Classical Music" * Rhizome Two: Repertoires of Melancholies * Rhizome Three: The Practice of Affect * Rhizome Four: The Islamic Roots of Musicians' Melancholic Routes * Following the Rhizomes of Melancholic Modalities * Chapter One - The Melancholic State of Turkish Classical Music * Reforms as Roots * Cultural Policies and the Politics of Naming * Ottoman Music and the Turkish Nation-State * "Shaping Ears and Hearts": Emergent Media Practices * Institutional Changes for Practices of Musical Transmission * Neoliberalism, Islamic Movements, and the Privileges of Privatization * Death of a Genre * Chapter Two - Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment * Sufism as Separation * Hu as Sound * Hu as Instrument Technique * Hu as Sacred Embodiment * Hu as Istanbul * From Life to Death and Sound to Silence * Chapter Three - Melancholic Genealogies: Rhizomatic Listening and Bi-Aurality in Practice * Learning Melancholy, Learning Love * Understanding Mesk * Learning from a Master * Learning with Notation * Becoming Your Lineage * Bi-Aurality and the Problem of Assumed Listening Geographies * Genealogy, Orientalism, and Orientations * Listening Like a Ney * Case Studies: Listening Rhizomatically to Me?k Lineages * Learning Music as the Practice of Melancholy * Chapter Four -- Boundaries of Embodiment in Sounded Melancholy * Rendering Melancholy Musical * Embodying Gender, Melancholy, and the Boundaries Between * The Body's Boundary: Melancholic Musicking and Tears * Sema and Sama' * Conclusion: Living with the Boundary * Chapter Five -- Melancholic Musicking, Healing, and Reparation * Melancholy as Illness * Musical Modes as Music Therapy * Melancholy and Health between "East" and "West" * Iconic Melancholic Musicians: Neyzen Tevfik * Melancholic Musicking: "There is No Medicine" * Musicking as Food for the (Melancholic) Soul * Suffering as Remedy: What to Take Away from Melancholic Musicking * Conclusion -- Affect in Ethnomusicology and Beyond * Bringing the Rhizomes of Turkish Classical Musicians to Bear beyond the Academy * Bibliography * Discography
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