Activities / Symposium
Published on 04.10.2017
I. INTERNATIONAL SYPOSIUM OF ASSOCIATION OF ETHNNOMUSICOLOGY - MUSIC AND POLITICS - 22-23-24 MARCH 2018
From the perspective of Tomislav Volek, music and politics are two completely different phenomena in essence. Political content is dependent on the word and different meanings can be imposed on the melodies by changing the words of the songs that defend different ideologies. The political elements in music only exploit a few things. The music is undefended to being shown in a political structure.
There are certain points, including even these words, that need to be discussed about the relation between music and politics. From the stylistic standpoint, it is certainly difficult for a work of music to have a political content. Just as we cannot easily comprehend the events or depictions which are desired to be expressed in a work the program of which we do not have much previous information about. Above all, it is wrong to restrict the relationship between music and politics only to Hitler's Germany, Stalin's Soviet Union, or McCarthy's America. This relationship stands vividly in front of us from the ancient Greece to the Ottoman period, from the Renaissance to the 20th century. Certainly, the 20th century symbolizes a period in which this relationship is much more intense. This is due to the emergence or development of some ideologies that influenced the century. The composers who have handled political events, those who openly rebel governments, those who place their political identities in their works, those who question the system, those who question the humanity, those who devote their works to the freedom of other peoples or the pioneers of other nations' wars of freedom…As you can see, it is wrong to restrict this phenomenon just as Volek said, but the importance of the words is still great. It was clear that Mozart's critique of the class concept could not be expressed in any symphony, so he preferred opera. Everyone was aware of the political power of the music, but it was composers and politicians who were the most aware. Music was one of the biggest weapons in fighting against the enemy. Only those who created political music appeared and they are remembered by their political identities. Some people were tortured and murdered for singing. In any case, it would be impossible for the person who made music to stay away from politics. At this point, some of them came forward while the political identities of some of them have never been mentioned along with their music.
When this topic is evaluated from the perspective of our country, we encounter a chain of unbelievable events. The fact that music and politics on these lands have been intermingled in different civilizations for centuries led to this subject's maintaining its actuality from the Ottoman Empire to the Turkish Republic. From performance to institutionalization and social engineering to music, the relation between music and politics is something that Turkish people are familiar with. The reason why ideology and politics applied in this direction influence music is simple: the place of music in human life. Musical genre are prohibited, institutions are closed, people who are banned because of their music are either imprisoned or deprived of citizenship.
All decisions made about music in this country are political. The establishment of Western music conservatories is political, and the same applies to Turkish music conservatories. It's political to say what a composer should do. The story of writing the first opera, music in the People’s House, Ankara Conservatory, orchestras, music criticism, all are political. Everything that stands out as the Components of the Republican Period Music Politics; objective setting, strategy setting, ideological devices of the state and practices in this direction are all ideological.
The theme of the symposium that Ethnomusicology Society plans to make in 2018 is decided as MUSIC and POLITICS. We hope that the following subtitles will help the researchers who we wish will participate in the symposium.
21st Century in Republican Period Music Politics
Community Engineering in Turkey in the Context of Music and Politics
Political Factors in Creating National Music
The Politics of Music Education in Turkey: What we have achieved and what we have failed to do?
Mass Education in Music from the People's Houses to the Present Day
Political View of Traditional Music in Turkey
Banning Music
Protecting Music
Political Side of Music in Subculture Studies
How Does Music Influence Politics?
How Does Politics Influence Music?
Types of Music that Stand out in the Relationship between Music and Politics
Rightist-Leftist Styles in Turkish Protest Music
Participiation should be as an Individual paper in symposium. Abstracts should be from 250 to 300 words in length, and written in Turkish and English.
CHAIRMAN OF SCIENTIFIC BOARD
Prof. Dr. Fırat KUTLUK, Dokuz Eylül Üniversitesi (İZMİR)
MEMBERS OF SCIENTIFIC BOARD
Prof. Dr. Irene MARKOFF, York University (CANADA)
Claire LEVY, Institute of Art Studies at the Bulgarian Academy of Sciences (BULGARIA)
Prof. Dr. Cihat AŞKIN, Istanbul Technical University (İSTANBUL)
Prof. Dr. Martin STOKES, King’s College (LONDON)
Prof. Dr. Thomas SOLOMON, University of Bergen (NORWAY)
Prof. Dr. Anthony SEEGER, Ucla (LOS ANGELES)
Prof. Dr. Philip BOHLMAN, University of Chicago
Prof. Dr. Ursula HEMETEK, University for Music and the Performing Arts Vienna
Prof. Dr. Georgina GREGORY, UCLAN (PRESTON)
Asoc.Prof.Dr. Özlem Doğuş VARLI, Uludağ Üniversitesi (BURSA)
Asoc.Prof.Dr. Okan Murat ÖZTÜRK, Başkent Üniversitesi (ANKARA)
Asoc.Prof.Dr. Seyit YÖRE, İstanbul Üniversitesi (İSTANBUL)
Asoc.Prof.Dr. Ersen VARLI, Uludağ Üniversitesi (BURSA)
Assist. Prof. Çiler AKINCI, Dokuz Eylül Üniversitesi (İZMİR)
Asisst. Prof. Dr. Onur Güneş AYAS, Yıldız Teknik Üniversitesi (İSTANBUL)
KEYNOTE SPEAKER
Philip TAGG
About the speaker
IMPORTANT DATES (TIMELINE)
Deadline for submission of proposals: January 31, 2018
Notification of acceptances: February 16, 2018
Deadline of participation fee: February 19, 2018
REGISTRATION FEE: 100EURO ( includes proceeding book -abstract and full text, symposium bag, gala dinner, coffee break, lunch)
IBAN: TR85 0001 2001 3290 0016 1000 35 HALKBANK
ACCOMMODATION : Accomodation of Bursa Almira Otel (3 nights, include breakfast-dinner ) will supply our sponsorships.
We’ll request to announce from you to us your accomodation dates.
The applicants are asked to deliver the abstracts to info@etnomuzikoloji.org mail adress.
LOCATION OF SYMPOSIUM: ALMİRA OTEL (Panorama and Şehrazat Halls)
http://www.almira.com.tr
Association of Ethnomusicology (Türkiye) Prize of the Best Paper 2018
This prize is for MA and Phd students.
Deadline for submission full text for prize: March 1, 2018
Prizes:
- 2000TL
- 1000TL
- 500TL
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