The State Conservatory

For Issue 5th of Ethnomusicology Journal published by the Association of Ethnomusicology, we called for articles and fieldwork examples to address the models introduced by the discipline of ethnomusicology from past to present, definition of concept of field and critics on how the perspectives spe- cific to ethnomusicology are shaped. This issue includes the articles that pro- vide an overview of the historical development process and reassess the new approaches and also presents the free-theme works in the scope of the sub- ject. Since we aimed to include translations of the articles that are published in the field of ethnomusicology in different languages and selected by us among the reference studies, we took the first step by publishing a translated article in this issue towards making contributions to the researchers who read and speak in the Turkish language.
I would like to point out that some discussions on the discipline of eth- nomusicology played a role in determining the theme of this issue. This is because it has been needed to reassess, based on the current perceptions, the approaches of the discipline of ethnomusicology from past to present while the name and scope of this discipline has been discussed by some circles. To summarize the process, it would be a contradictory approach to regard a discipline, as ethnocentric, that examines the othering social structures and the music production styles of the social structures based on some already-effective studies from a cultural-relativist view and makes them visible, and it was needed, even as a preliminary step, to address them via the articles leading to debates of ideas. Likewise, it is possible to see that ethnomusicology adopts a distant attitude to the point of post-colonial approach, which has had an influence throughout the social sciences from time to time, considering the elements it places in the order of importance. As I mentioned, in the early studies, ethnomusicology exhibited an approach including the fields with more flexible borders in the definition of "fieldwork" by questioning the concept of field in parallel to the changing social structures while exemplify- ing the "othering" structures from the settings such as village and rural areas etc., and by offering new search models. Thus, it would not be wrong to say that a music setting has reached a diversity covering the ritual settings which music accompanies or where music is produced, and digital platforms and those where popular cultural products are positioned. Accompanied by this expansion, new methods of ethnography have begun to have a place within the “fieldwork” methods and techniques of ethnomusicology.
The dynamics of the cultural context mentioned in the definition of eth- nomusicology “researching music with its cultural context” that is a fixed and simple definition coming to our mind firstly, vary along with the changes and have begun to introduce the studies in which the concept of culture is even discussed. Finally, we gave a place, in Issue 5th, for the works that exemplify the fast and reflexive response of the discipline of ethnomusicology to the changing social dynamics, in terms of abstract and conceptual aspects by giving concrete data including detailed definitions within theoretical framework. To summarize Issue 5th with respect to this content that will continue in the next issue, it is needed to start with Mehmet Ali Sanlıkol's article “Re-Evaluating Bimusicality in and for the 21st Century: An Immigrant’s Perspective" that addresses the concept of ”bi-musicality" which was suggested by Mantle Hood in 1960s for the first time. In Okan Murat Öztürk's article “Modernizing with Mandolin: Music Education in Village Institutes in the Light of the Program of Turkism in the Field of Music”, the criticism on westernization and modernisation in Turkey is presented in terms of music education program of village institutes, and when we look at the process from the perspective of ethnomusicology, it is also possible to read it as othering of the local. In her article “Bartok's Influence on Saygun: Collaboration and Transmutations”, Özgecan Karadağlı discusses the impact of Bela Bartok, who is regarded as an ethnomusicologist in terms of her works apart from her composer identity, on Ahmed Adnan Saygun having the same attributes with Bartok, in terms of collaboration and musical transmutation. Then, in his article titled as "Variations of Hey Onbeşli Song from Outside of Anatolia", Nejdet Kurt touches upon the findings on presence of the folk song "Hey Onbeşli Onbeşli" in different geographies. The Ecenur Güvendik’s article “Music in Political Culture: the Eurovision Song Con- test”, which is the last example of the articles we have introduced in the context of the theme, is one of the studies that we can assess the new approaches of ethnomusicology in terms of concept and field. Our journal hosts three articles in the section of "Free Theme". The first article is Emre Elivar's “Chopin's Piano Sonatas”, the second is Gökçe Güneygül's “Research of The Female Instrument Players and Instrument Description in Ottoman Harems”, and the third and last one is Beril Özyazici's “Structural Differences in Piano Works of Classical and Early Romantic Period Composers”. In the section of “translated article”, which we included in this issue for the first time as the section free theme the part " Knowing Fieldwork" in the book “Shadow in the Field: New Perspectives for Fieldwork in Ethnomusicology” written by Jeff Todd Titon and edited by Gregory Barz ve Timothy J. Cooley is presented as translated by Göksal Öztürk into Turkish with the title of "Alanı Tanımak".
The journal reviewers of Issue 5th include Aylin Çakıcı Uzar, Bilen Işıktaş, Cansevil Tebiş, Gökhan Aybulus, Gökmen Özmenteş, Hikmet Toker and Şirin Karadeniz.
I would like to thank all our authors who contributed articles and trans- lations to our Journal, and reviewers for their contributions and convey my heartfelt wish to contribute to the field with valuable works - one more valuable than the other- in our next issues.

FOREWORDS
Timothy Rice, in his article on the concept of “identity”, which has been increasingly taking place in all social science studies since the 1980s, and the orientation towards its studies, focused specifically on ethnomusicology and
questioned the reasons for this increase. The author initially stated that the concept of identity was present in the literature of sociology, anthropology, cultural studies, and philosophy as a tool of psycho-social analysis in the early 1960s. In ethnomusicology studies, beyond ethnic, national, gender and social class-based identity studies, shaping of identity-specific elements in living spaces is a separate area of focus as Rice states. Music and dance, which are the abstract and concrete formative elements of the living space in question, shape identities as well as forming them. The formation process of the book Timbres of Identity: Ethnomusicological approaches to Music-Dance and Identity, which is the idea we set out with, started about a year ago, following the International Ethnomusicology Symposium (hybrid), under titled Music- Dance and Identity: Timbres of Danube. However, ahead of the symposium we had included many sub-titles in our music-dance and identity-oriented symposium call, which we, as the Association of Ethnomusicology/TURKEY, decided with the support of the Istanbul Hungarian Cultural Center. The symposium we conducted online and in Bursa /Turkey started with the concert of Uludağ University State Conservatory Youth Symphony Orchestra string instruments group under the direction of conductor Dağhan Doğu that played “Tuna’da Bir Uğurböceği (A Ladybug in the Danube)” composed by Oğuzhab Balcı for  the symposium. After the symposium, which was streamed live on all social media accounts of the Ethnomusicology Association for three days, the collective book “Identity of Music: Ideology, Ethnography, Popular Culture”  was published in Turkish by Doğu Publishing House on September 2001. This book, on the other hand, including Ethnomusicology as Science Versus Ethnomusicology as Humanity chapter that was also one of the symposium keynotes by Helen Myers at the same symposium is published in English by the Association of Ethnomusicology Publishing.
Following another of the symposium keynotes, How Essential is Music Researche Today?, presented by Gisa Jachnigen and written separately for the book, Daith Kearney penned his fieldwork titled Forging the Dance: The Expression of Regional Identity in Irish Folk Theatre. In addition to article by Nick Poulakis titled Greek Music and Dance: Performing Identities Through Cinema, Saman Panapitiya introduced another exemplary work on the tones of identity with his article titled
Folk Arts Associated with Agro-Lifestyle and Performing Arts of Today in Sri Lanka. Shan Du wrote The Gatha of the Nava Durg-a Between Divine  and Human Roles section, while Meruyert Berdikul discuss examples of the reflections of music politics in the formation of musical identity with the article titled Postcolonial Discourse of Studying the Song Culture of Kazakhs of the XX. Century and Özgecan Karadağlı with the article titled  Identity and Music: Saygun’s Yunus Emre Oratorio. Finally, the only article in the book that was not presented at the symposium, Georgian People on the Boundaries via Music and Dance: Artvin-Maçahel/TURKEY, was written by me. Hope to contribute to readers and the field. Prof. Dr. Özlem DOĞUŞ VARLI

The photograph on the cover of the book belongs to Ayten Şenaşık, known as Deli(crazy) Ayten, one of the Kambers of Bursa, in other words, a Roman/Gypsy citizen. The first year I came to Bursa (2014), when I saw the statue of Deli Ayten in the garden of the Çalgıcılar Mektebi (Musicians' School), located in the Kamber neighborhood where Romans lived in previous years, I immediately researched his story, talked to those who saw his last years and tried to understand. The reason why I put it on the cover of this book is because of how the identity of woman shapes other identities. Because she is a representative subject with her never-ending the Cümbüş and Drum.
Deli Ayten, with her colorful bags in one hand and her drum and Cümbüş instrument in the other, carried the Romanian woman identity on her back. Despite her family's disapproval, her marriage to Cümbüş Hasan, whom she fell in love with, came to an end after her husband's addiction to alcohol, leaving Ayten, and then her death. Losing her mind because of this, Ayten carries the difficulties of life peculiar to women and the instruments in her hands entrusted by her husband for years.
While the roles that societies assign to women vary, it is much more possible to dance and sing among Romans, rather than the presence of women playing instruments whom we know that music is at the center of their lives. Ayten losing her mind, her bags and instruments are the ones that stay in her mind the most. Because only a woman who has lost her mind can walk around with music instruments in her hands. Ayten Şenaşık, who has become the symbol of the Kambers community with her female identity and “otherness” Roman identity at the point of “otherness” female identity in various dimensions in different societies, also stands before us as the output of roles based on her gender in the society she belongs to.

At this point it should be noted that, in gender relationships next to arguments of the dominant structure (patriarchal) gender-based othering brings with itself distinctive living practices. We can clearly observe extensions of the said living practices in idea and artistic productions just like in every area of social life. Since the 1970’s fight against insufficient information on women and social constructions produced by women that are at the center of the said gender othering found place in basic pursuits of ethnomusicology and performance arts just like all areas of social sciences with the influence of feminist movement. The requirement to make detections about women in every area is sourced from gender-based othering that is in traditional social structure as well as in modern and postmodern social structures while musical productions of women who became a disadvantageous group in social structure patterns reveal the need to approach their ways of appearance in daily and special rituals with their musical performances through various layers. “Women identity in society” as one of the most important factors in gender- based research will be the main focus of the book.
While Özgecan Karadağlı, who had important points with her article named Slavery, Power, and Music in the Ottoman İmperial, Ioana Baalbaki, the writer of  Emilia Comişel and Her Contribution to Romanian Ethnomusicology takes Emilia Comişel which is just left  behind 75 years of working on Ethnomusicology of Romania and her works in hand comparatively.
Virginia Sánchez Rodríguez ise, Is Piano Playing a Woman’s Matter? Female Musical Performance in The Spanish Cinema (1939-1975) konusu ile an approach to female musicians in the Spanish cinema in the middle of the 20th century is proposed, specifically during the Franco Regime (1939-1975).
On the other hand, While Mohamed Haseeb  studies  historical files and field work of women’s role on Kattu Pattu which is a  result of the social and economic circumstances of 1970’s in the society of Mapila, Also Báyò Ògúnyemí intends to detail the place of Yorùbá women in the social organization of the Yorùbá society by using their musical arts under the title of Women, Music Ensemble, and the Social Structure of Traditional Yorùbá Society. Pătraş Andra Daniela, Ileana Szenik: A Subjective Approach of Her Work from the Volumes Traditional Carol in Transylvania - Musical Typological Catalogue.
All writing is also presented on Women Play/Sing the Earth- Music and Women symposium which has been orginised by Society of Ethnomusicology at May,2021 and re-edited for the book. I also like to add that the only article that had not presented on the aforementioned symposium, is the one named Is Being the Women Conductor At The Tip Of The Gendered Baton Better Than Being At The Tip Of The Barrel? Thinking of The Afgan Orchestra Conductor which is written by me.
You can access the visiual and auditory files which were used on their presentation by the writers from the link below https://www.youtube.com/channel/UCDt-PzrTDXGdQYXjrdyVEzg/videos


I wish this work will contributes the field and its interested ones. A big thank you to our writers for their hardwork.
Prof. Dr. Özlem DOĞUŞ VARLI