Event schedule
IRMC2024 (4th) will be announced at November 30- December 1, 2024 on this page
4th IRMC 1st Day: November 30, 2024-Saturday
https://us06web.zoom.us/j/85373571910?pwd=RYWDiTdrukAQNE1juffsUI4DZRFy7g.1
4th IRMC 2nd Day: December 1, 2024-Sunday
https://us06web.zoom.us/j/86488941543?pwd=jzHK2j95EiacblnkvgVs5almqMjlBy.1
Please note that this is Turkiye time
Attention
Late participants must register until the first hour of the congress opening. After this time, no new participants will be included in the congress. Late participants should contact Dr. mehmet Alan on +90 554 2997215 Participation to the CONGRESS can only take place when the necessary permissions are given by the problematic member of the organizing board.
In this session, Young Wise Publishing Director Dr. Hasan Said Tortop will give information about academic journals and IRMC organization.
In this session, IRMC Congress President, Editor of Journal of Music Theory and Transcultural Music Studies (JMTMS), Assoc. Prof. Dr. Gvantsa Ghvinjilia will give information about the goals, objectives, vision and mission of the IRMC.
Proceedings:
``The importance of instrumental practice in children's cognitive development``
Maria Bellmunt i Borràs and Sandra Soler Campo
``Eco-Music as a Transcultural Phenomenon: Foundations, Principles, and Global Perspectives: The Georgian Case``
Gvantsa Ghvinjilia
``The collection of gramophone records from Qamili i Vogël (Little Qamil) - An important document tracing traditional Albanian musical culture``
Krenar Doli
``The Formation of Kosovo’s Musical Cultural Foundations and Its Emergence as an Independent Musical Entity``
Rreze Kryeziu Breznica
``A study on somatic expressions in Arabesque music as an elements of popular culture in Turkiye: Arabesque dance design``
Beste Naiboğlu Özgüç
Coffee Break-Lunch
A few decades ago, it was discovered that meaning is not only a matter of words and sentences, nor is it based on an “objective” truth independent of us, but goes much deeper, to sensory-motor patters, feelings and qualities. We owe this kind of achievement primarily to neuroscience and cognitive linguistics, and nowadays almost every discipline tries to explain the meanings created through a cognitive approach. My lecture is devoted exactly to this kind of knowledge. It will be based on the very popular research model called conceptual blending theory invented by Gilles Fauconnier and Mark Turner (2002). According to the authors, the basis of much human thinking and action is a cognitive operation during which known concepts are blended in order to create a new concepts from them. The basic term here is mental space, which denotes a certain area of concepts that make up one semantic frame. While thinking and action, the human mind simultaneously creates four such mental spaces: two input spaces, one generic space and one blended space. The key mental space is the blended space, constructed from selected concepts of both input spaces, in which a new meaning emerges. The theory will be shown on the example of “Two studies” for piano (1986) by one of the leading Polish contemporary composers - Paweł Szymański. After presenting some fragments of each study, I will discuss my processes of creating meanings, taking into account Fauconnier and Turner’s instructions. The results of these works are as follows: in “First study”, I find that a single series of identical chords evokes a musical echo, and the entire study can be called scaling of the musical echo, whereas “Second study” is a quick musical movement in two alternating manners: running with a clearly defined goal and running without a clear goal. Finally, my results will be confronted with the meanings created by music critics.
Keywords: conceptual blending theory, Paweł Szymański
Coffee Break
Proceedings:
‘’Development Stages of Research Conducted in the Field of Organology in Azerbaijan ’’
Gunay Mammadova
``The Musical Language Features of Composer Neriman Memmedov's 'Azerbaijan' Oratorio``
Aynur Gasimova
``Creating graphic notation by Azerbaijani composers``
Arzu Halilova
``Investigation of Sufi Music in Azerbaijan: Problems and Suggestions``
Zehra Badalova
``Music at Women's Religious Marriage (Wedding) Ceremonies in Azerbaijan in the 21st Century``
Aydan Babayeva
Coffee Break
Coffee Break
Cultures do not exist in isolation, contained within regional or ethnic boundaries, or as immutable, ossified entities. The need to study their changes and interactions gives rise to the concepts of multi-/inter-/cross-/transculturality (for the present purpose distinctions between these terms will not be addressed, with transculturality used as an umbrella term). Transculturality, however, is not (only) something that exist in a given cultural artefact, but arises through collaboration between various actors, and when music is concerned, the important role is played by the listener and the analyst. Different analytical approaches do not only illuminate, but effectively construct different aspects of the work, including those facets that can be ascribed to different cultures. The present essay examines how this plays out in music, instantiated by the composition Hadedas for cello and piano by Serbian composer Srđan Hofman, with special emphasis on its pentatonic collections. Freely borrowing certain concepts from Deleuze (and Guattari), I argue that pentatonicism, while territorialized, also possesses nomadic qualities (localizable in time and space, but with a mobile and shifting center). The deterritorialization (“lines of flight”) – reterritorialization processes are “out-of-phase” activities of the composer and the analyst. Further along these lines, we can describe such processes in terms of what could tentatively be called (as per Manuel DeLanda) Deleuze’s ontological dimensions: virtual/chaotic – intensive (“molecular”, related to heat, velocity etc.) – extensive (“molar”, as an object given in time and space). Any cultural activity, whether emphasizing creativity or interpretation, engages a field of interacting forces, where both individual works and individual cultures are constructed around certain pre-individual singularities, emerging as partially “crystalized” entities with fuzzy boundaries. Finally, in order to account for music’s remarkable predilection for embodying and blending diverse cultural contexts, the essay takes a psychoanalytic turn, and – assuming powerful connections between music and the unconscious – invokes primary process mechanisms, particularly condensation, and subject-object ambiguity.
Keywords: music analysis; interculturality; Hofman; Deleuze; psychoanalysis
Coffee Break
Coffee Break
``The Role of Digital Technologies in Vocal Training: The Use of Voice Analysis and Feedback Systems``
Alper Şakalar
``The Lax Vox Technique in Vocal Training: Its Effects on Vocal Health and Performance``
Sevda Toker
``Eastern Black Sea Rize Çamlıhemşin region music by the living folk poet Süleyman Serin a study on his life and work``
Serap Duran Subatan and Zeki Karaman
1st day closing
Openning Concert
Openning Concert
``Investigation of Artificial Intelligence Literacy Levels of Music Teachers``
Ömer Üçer, Hüseyin Yılmaz and Yakup Açar
`` Music Emotion Induction: Music Theoretical Foundations``
Fırat Altun
`` The Understanding of Hüseyni and Uşşak Makams in Turkish Music Based on Aşık Veysel Sound Recordings ``
Savaş Öztürk and Emre Pınarbaşı
``Transformation in Music Education: From Traditional Methods to Digitalization and the Impact of Hybrid Models``
Serkan Demirel
``The Influence of Egyptian Movies on Turkish Makam Music: The Example of the Movie “Harun Reşid’in Gözdesi”
Orkun Zafer Özgelen
Coffee Break
Coffee Break
Pitch-class set theory was developed on the American continent in the 1940s by composers and music theorists such as Milton Babbitt (1916‒2011), Allen Forte (1926‒2014), and others. Since the 1970s, this discipline, which is located between music and mathematics, can be regarded as more and more established and institutionalised throughout the Anglo-American world. In contrast, it is often strongly rejected in large parts of the European and especially the German discourse, which can be seen as one of the many devastating aspects of the division of the international research community following the Second World War. This study attempts to trace the historical causes of the ambivalent reception of pitch-class set theory world-wide, partly on the basis of exclusive sources, such as an e-mail correspondence with Allen Forte. It discusses the paradoxical situation that it is precisely in German and French music theory of the 19th century (and in some cases even further back) that predecessor models of this music theoretical system can be found in the history of ideas. Only recently, depoliticised and in the context of the ever stronger and more natural international networking of specialist discourse in the German-speaking world and other parts of Europe, has it become possible to consider pitch-class set theory as a meaningful analysis tool for post-tonal Western music and to apply it accordingly, on the one hand, and to individualise and further develop it, on the other. In times of internationalisation, globalisation, and digitalisation, this form of re-reception holds the potential to expand pitch-class set theory into a transcultural music-analytical tool that can also gain strength beyond its previous musical boundaries and areas of application.
Coffee Break
Coffee Break
``Investigation of the Tradition of Playing and Singing in the Curricula of Turkish Music State Conservatories``
Cevahir Karaca
``The effects of chemicals used in the maintenance of string instruments on the structure and performance of the instrument``
Zafer Güzey
``An Analytical Approach to the Fret System of the Bağlama Instrument ``
Tunahan Alan and Mehmet Alan
``Acoustic Analysis of the Effects of Different Types of Varnish Used on the Soundboard of Stringed Instruments on Sound Production``
Mümtaz Ceylan and Emir Değirmenli
Coffee Break-Lunch
Coffee Break
``The Effect of the Violin's Bridge on Sound Characteristics``
Orhan Türk and Emir Değirmenli
``Examination of the Impact of the Design and Physical Properties of the Bağlama Bridge on Sound Production``
Berat Gerin and Emir Değirmenli
``The Impact of Early Music Education on Children Development``
Serkan Demirel and Merve Karabel
4th Rast Music Awards Announcement
Rast Music Awards is dedicated to promoting music researchers, performers, and artists on the rise and established high-quality music standards while supporting charitable causes through the Rast Musicology Journal Academic Board. This award was established by the Young Wise Publishing Ltd at London, UK, music publishers, in 2021, and is given for the publication of a work by gifted scientists, artists, performers, and composers.
Coffee Break
Coffee Break
Keynote Speech: Prof.Dr. Scott Smith: Pianos without Borders: An Experiment in Online Learning
Pianos without Borders: An Experiment in Online Learning
It is a paradox that Ottoman court music, as a distinct style and repertoire, and the most creative movement in Ottoman poetry--the “Fresh” or “Indian” Style--both emerged during the prolonged social and economic crisis of the seventeenth century. This period witnessed a gradual break from a declining musical practice of Greater Iran, toward the creation of a new Ottoman music. Most of these cultural developments were the work of a group of intellectuals in Istanbul and Edirne, usually attached to the Mevlevi, Halveti or Gülşeni dervish orders; as well as a smaller group of secular aristocrats and tradesmen, some “cross-over” musicians from the official military mehterhane, and mosque singers, many of whom knew one another personally. The internal structural coherence of the Mevlevi Order of Dervishes—who became a major presence in Istanbul during the seventeenth century-- allowed them to help shape the new art music and influence the poetry as well. To these intellectuals and artists of the seventeenth century, it was a given that the center of the Islamic civilization lie not in their own Empire but in the Mughal Empire of India. Although this has been described as the “Sufi era”of Turkish poetry, it was also the era in which a subversive voice entered the Sufistically-tinged Turkish verses. Many of these poems were written in response to Persian verses by contemporary masters in India and Iran. The Ottoman court per se did not furnish the primary support for any of these musical or poetic developments. But during the ensuing “long eighteenth century” (after ca. 1680) the Court assumed more responsibility for supporting both the new music and poetry. In addition, the leading non-Muslim musicians, especially the cantors of the Greek Orthodox Church, took a major role in the direction of new secular composition for the Court.
Closing Ceremony
Closing Speech:
Assoc. Prof.Dr. Gvantsa Gvlinjia, IRMC Chair