Arranging the Black Sea
Arranging the Black Sea
Chapter 9 examines six different contemporary album recordings of music originating in the Eastern Black Sea (Karadeniz). All six songs make some kind of contemporary representation of the Black Sea (either locally or regionally), an effect most clearly accomplished with the use of the locally specific instruments such as the kemençe and tulum. However, much of the labor of studio musicianship, arrangement, and engineering far exceeds a sole concern with representation, being concerned instead with the regionally unspecific aesthetic conventions of arranged ethnic music. Therefore, arrangement as practice largely concerns everything that exceeds the basic needs for properly performing a song. This chapter employs DAW session analysis, spectral analysis, and score-based and lyrical analysis modes.
Keywords: arrangement, Black Sea (Karadeniz), kemençe, representation, studio musicianship, tulum
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .
