图书简介

Contents; List of illustrations; Preface and acknowledgments; Notes about language; Map of Turkey; Part 1: A digital tradition of arrangement; Chapter 1: Arrangement and engineering; Arrangement and arrangers; Engineering and engineers; Social, technical, musical things; Research methodology; Chapter 2: Tradition; Discourses of tradition and place; Problems of place and identity; Traditions of work; Part 2: Arranged histories and arrangement industries; Chapter 3: Arranged folklore in early Republican Turkey; The demand for folklore; A source-resource model for analyzing derleme; Folklore at the birth of the Republic; Folklore institutions during the one-party era; Folklore and mass-media in the multi-party era; Musical practices of arrangement, cleaning and restoration; Cultural geographies of village, town, city and nation; Postscript: revisiting Altun Karahan; Chapter 4: The Anatolian ethnic music industry; The growth of Turkey’s recorded music industry; Industries and ortak-s; Ethnic language politics and emerging markets; University ensembles: Grup Yorum, Karde? Turkuler and Zu?a?? Berepe; Organizational and production networks: the role and legacy of Kalan Muzik Yap?m; Concerns with foreign perceptions; Social networks and the nature of professions; Negotiating outside actors; Part 3: The recording studio assemblage in Istanbul; Chapter 5: The experience of studio work; Auditory images and visions of the song arrangement; Studio listening modalities and technologies of audition; Latencies; Built environments and social dynamics; Chapter 6: Digital; Hearing digital data, visualizing Anatolian soundings: synesthesia in the studio; Digital audio, music, and non-musical sound; Acoustic instruments and indirect computer users; Chapter 7: Aesthetic keywords of the studio; Introduction; Denge/denk/denk gelmek: balance and suitability; Fena de?il and oldu galiba: the aesthetics of not bad when mixes happen; Tav?r, yorum and the art of interpretation; Renk enstrumanlar?; Parlak and buyuk ses; Aesthetic relations; Part 4: Case studies in arranged music; Chapter 8: Arranged music and the donem filmi genre; Analyzing film music and sound; The donem filmi genre; Vizontele (2001) and the formation of a new film music genre; Beynelmilel (2006) and the problems of leitmotif; Ozlem Taner’s Kara Tren/ Seher ?nende; Donem films as technological tragic comedies; Chapter 9: Arranging the Black Sea; Finding the Karadeniz; Gokhan Birben, Hele Mele (on the outside); Gokhan Birben, Denizde Dalga Birdur (there’s a wave in the ocean); Bizim Ya?ar Kabaosmano?lu, Nenni Nenni; Fatih Ya?ar Sirlarumi Soyledum (I told my secrets to the smoke on the mountain); Fatih Ya?ar Ciktum Yuksek Da?lara (I headed up the high mountain); Ay?enur Kolivar, Mavili E?arbumi / Lafun Aykirisi (Blue scarf / Against this nonsense); Chapter 10: Towards a methodology for the study of digital music production; Methodological Implications; Glossary; Bibliography; Mediagraphy (audio recordings, feature films, and TV shows); Index

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