This book review is to highlight the specific features of an important publication about Siberian traditions. The author spent much time and energy in compiling convincing material. The reviewer goes through some details regarding contents and structure of this publication.

UNESCO's definition of safeguarding emphasizes the importance of measures which foster sustainability for living traditions rather than merely the documentation and public promotion of traditions in their " frozen " (memorized) forms. Unfortunately, the English word safeguarding has no clear equivalent in Russian. The closest Russian translations of the term safeguarding relate to preservation and protection rather than to the broader values of enduring creativity and resilience as expressed in the full texts of the ICH Convention. This translation issue has led to a general misunderstanding of UNESCO's goals for endangered traditions, affecting Yakutia's Plan of Action for revitalizing olonkho in such areas as budgeting, strategic planning and effective ways to support tradition bearers. According to UNESCO documents, an adequate definition of safeguarding will stress continuous recreation , evolution, and transmission, not simple preservation. Without constant creativity giving life to an artistic genre, the core of its " genetic material " – the related knowledge, skills, and meanings – will wane. As a result, all that remains to be transmitted are the relatively static aspects of the tradition – even possibly limited to " relatives " of the original genre. In the case of olonkho, these related forms might include theatrical presentations, memorized scripts, movies, books, and other " distant relatives " of the solo genre performed by master olonkhosuts. Emphasizing the importance of the ecological model of " resilience theory " and affirming its potential for informing the revitalization of dying traditions, this presentation proposes a clearer definition of the term safeguarding for Russian audiences, outlining ways in which Yakutia's Plan of Action might better reflect the intention of UNESCO's ICH convention. For example, part of UNESCO's recommendation for safeguarding moribund traditions is the encouragement to create programs and systems to support " Living Human Treasures. " The standards for these master performers demand not only excellent artistry in performance but also the ability and dedication to pass along the cultural heritage to others. This core UNESCO goal of transmission has proven one of the most difficult aspects in olonkho revitalization, and as a primary factor involved in safeguarding, it deserves more attention in the revitalization process. For example, the modest number of officially recognized master olonkhosuts in the first Decade of Olonkho has in the last several years dwindled to zero. Adequately addressing the transmission aspect of Yakutia's Action Plan will involve identifying new master olonkhosuts and providing ways for them to focus on transmitting the living tradition of olonkho to the next generations.

Etnomüzikoloji Dergisi üçüncü yılının ikinci sayısını çıkararak yayınlarında 6. sayıya ulaştı. Altıncı sayı, bir önceki sayıda olduğu gibi etnomüzikoloji disiplinin kendi içindeki tartışmaları, yeni yaklaşımları, alan kavramı ve alan araştırması ile ilgili yeni metot önerilerinin uygulanmaya çalışıldığı eskiyeni alan çalışmalarına çağrıda bulundu. Yalnızca etnomüzikologlara değil, yakın disiplinlerden de makalelerin değerlendirmeye alındığı altıncı sayıda, Etnomüzikoloji Derneğinin “Dünyada ve Türkiye’de Etnomüzikolojinin Dünü, Bugünü, Yarını” temalı, 29-30 Mayıs 2020 tarihleri arasında düzenlediği çevrimiçi etnomüzikoloji sempozyumu açılış konuşmacısı (keynote) Prof. Dr Jeff Todd TITON’nun “Within Ethnomusicology, Where Is Ecomusicology? Music, Sound, and Environment” başlıklı yaklaşımları üzerine kritik yaptığı sunum da yer almakta. Öncelikle belirtmek gerekir ki, 2020 yılının büyük global salgınının yansımaları birçok alanda olduğu gibi sosyal disiplinlerde fazlasıyla kendini göstermektedir. Çalışma metodolojileri, veri toplama teknikleri, neden-sonuç ilişkileri sorgulamaları ve değişen yaşam biçimleri tüm sosyal bilimlerde olduğu gibi etnomüzikoloji özelinde de çeşitli tartışmalar ve araştırmaları önümüze sermekte. Dünyada değişim anları ve yansımalarını müzik bağlamları üzerinden okuma refleksini hızlı bir şekilde göstermiş ve göstermekte olan etnomüzikoloji, mevcuda yönelik tespit, yorumlama, kayda geçirme ve uygun teorik çerçeve ile açıklamaya yönelik çalışmalara elinizdeki sayıda dikkat çekilmektedir. Feyzan Göher tarafından yapılan “Kültür Ürünlerinin Mekânsal Değişimi Sibirya Türklerinde Tarım ve Hayvancılık Kültüründen Müzik Kültürüne Geçen Çalgılar” isimli çalışma, Titon’un çizdiği kuramsal dünya ve kritiği destekler nitelikte bir içeriğe ve alan verilerine sahip olması ile önem arz eder. Nikos Andrikos, “Towards A Re-Approach of Makam Theory Based on Practice and Repertoire: The Case of The Segah Phenomena” çalışmasında segah perdesi ve makamı tartışmalarında yeni bir yaklaşım ortaya koyarken, Rohan Iyer Kent kimliği içerisinde sokak stili Siter performansını kültürel kimlik boyutuyla ele almaktdır. Samarpita Chatterjee (Mukherjee) & Sabyasachi Sarkhel ise “An Introduction to Dhrupad Performance Platforms of India” isimli çalışmasında, Hindistan müziğinin en önemli performans biçimlerinden olan Dhrpad’lar üzerine yaptığı incelemede, geleneksel bir form Dhrupad’ların yeni performans platformları üzerine gözlemlerini yansıtır. Art arda gelen son üç makalede görüldüğü üzere, araştırmacılar geleneksel bir müzik yapısının günümüz müzik dinleme, algılama, üretme, tüketme, seyretme gibi dinamiklerdeki değişiklik halini ve tartışmalarını yansıtmaktadırlar. ‘Musikide İnkılabı Popüler Müzikle Yapmak’: Barış Manço ve Armonize Edilmiş Türküler” başlıklı Okan Murat Öztürk tarafından yazılan makalede ise aynı zamanda pop müzik ikonlarından olan Barış Manço’ nun eser ve performanslarını, modernleşme, batılılaşma gibi sosyolojik olgular çerçevesinde kritize edildiği görülür. Son olarak ise yaşanılan salgın döneminin yol açtığı müziğin performansının festivallere yansımasını “Covid-19 Pandemisinin Müzik Festivallerine Mekansal Etkisi: “Virtual Festival” başlıklı makalesinde Ayça Boyacıoğlu oldukça güncel bir konu üzerinden değerlendirme yapmaktadır. Ayrıca, 6. sayı hakemlerimiz, Oya Leventoğlu, Cenk Güray, Cenk Celasin ve Irene Markoff’tan oluşmaktadır. Dergimize katkıda bulunan tüm yazarlarımıza ve hakemlerimize teşekkür eder, bir sonraki sayımızda birbirinden değerli çalışmalarla alana katkıda bulunmayı canı gönülden temenni ederim. Prof. Dr. Özlem DOĞUŞ VARLIEthnomusicology Journal has published the second issue of its third year and reached the 6th issue in its publications. The sixth issue, as in the previous issue, has called for the old-new fieldworks in which the discussions within the discipline of ethnomusicology, new approaches and field concept as well as suggestions for new methods related to fieldwork are tried to be addressed. The sixth issue where the articles of not only the ethnomusicologists but also those from close disciplines have taken been into consideration, has given place to the presentation, " Within Ethnomusicology, Where Is Ecomusicology? Music, Sound, and Environment”, which was delivered by Prof. Dr. Jeff Todd TITON, keynote speaker in the online ethnomusicology symposium, "Past, Present, Future of Ethnomusicology in the World and Turkey" organized by the Association of Ethnomusicology on 29-30 May, 2020, and which featured the criticism on the approaches of ecoethnomusicology- ecomusicology. First of all, it should be noted that the repercussions of the great global pandemic of 2020 are very evident in social disciplines, as in many areas. Study methodologies, data collection techniques, questioning of cause-effect relationships and changing lifestyles reveal various discussions and researches in ethnomusicology, as in all social sciences. Ethnomusicology, which has quickly exhibited and is still exhibiting the reading reflex of the moments of change and reflections in the world through musical contexts, draws attention with the studies that explain the present situation by identification, interpretation, recording and appropriate theoretical framework as indicated by the issue at your hand. The work titled "Spatial Change of Cultural Products: Instruments passed from Agriculture and Livestock Culture to Music Culture in Siberian Turks " by Feyzan Göher is important with its content and field data that support the theoretical world and criticism that Titon has put forward. In his work “Towards a Re-Approach of Makam Theory Based on Practice and Repertoire: The Case of the Segah Phenomena”, Nikos Andrikos introduces a new approach to the segah pitch structure and makam discussions, while Rohan Iyer addresses street-style within the urban identity and Siter examines the performance with the dimension of cultural identity. Samarpita Chatterjee (Mukherjee) & Sabyasachi Sarkhel, in their study which is titled as “An troduction to Dhrupad Performance Platforms of India” and examines the Dhrupads, one of the most important performance styles of Indian music, reflect their observations on the new performance platforms of a traditional form, Dhrupads. As can be seen in the last three successive articles, they reflect the changes and discussions of a traditional musical structure in the dynamics of today's music, such as listening, perceiving, producing, consuming, observing music. In the article titled "Making Music Revolution with Popular Music": Barış Manço and Harmonized Folk Songs" written by Okan Murat Öztürk, it is seen that the works and performances of Barış Manço, who is also one of the icons of pop music, are criticized within the framework of sociological phenomena such as modernization and westernization. Finally, Ayça Boyacıoğlu evaluates the reflection of the performance of the music caused by the epidemic period on the festivals in his article titled "The Spatial Effect of the Covid-19 Pandemic on Music Festivals:" Virtual Festival" on a very current topic. Also, the journal referees of the 6th issue include Oya Leventoğlu, Cenk Güray, Cenk Celasin and Irene Markoff. I would like to thank all our authors and referees who contributed to our journal, and I sincerely wish to contribute to the field with valuable studies in our next issue. Prof. Dr. Özlem DOĞUŞ VARLI 6th Issue Editor

The present study attempts to clarify the issues of text composition and poetic style within the Uzbek oral poetic genre known as the doston (dastan). It focuses on four short oral poetic texts: two recordings of two identical sections of the Alpami doston sung by a single bard (bäxi) in 1990 and in 1991. Due to the fact that researchers within Uzbekistan and other former Soviet republics of Central Asia have paid little attention to issues of “improvisation ” and “memorization, ” even such a modest attempt at multiple recording can help to state the relevant questions more clearly. A close analysis of the four texts demonstrates how the techniques of oral composition intersect with poetic style. This analysis is aided at times by interviews with and explanations from the bard. In addition, these interviews and observations of the bard and his immediate environment reveal aspects of the bäxi profession that he viewed as having significance.

This is the day-to-day journal of my field trip late last year to Sakhalin, when I worked with the indigenous Nivkh people for a second time, collecting more material, both through notating music on the spot and by making recordings of the Nivkhs singing for me. Since then I have composed two more pieces of music based on this Nivkh material – a Suite for Solo Violin and Ulita’s Walk for chamber orchestra. Both works will be given their world premieres in 2008. The Nivkhs and their music have been an enormous inspiration to me, to our orchestra Ensemble XXI and to our conductor, Lygia O’Riordan. Before my first field trip in 2004, Lygia O’Riordan, the conductor of Ensemble XXI, initiated the first contact with the Nivkhs on her field trip to meet them in Sakhalin. At that time she met the Ethnomusicologist, Natalia Mamcheva, who introduced her to the legendary Nivkh singer, Tatiana Ulita. During that first encounter, Lygia O’Riordan recorded Tatiana Ulita’s singing. These songs provided me with the vital material for my composition, Nivkh Themes. On that same trip, Lygia O’Riordan travelled to Nogliki to see Nivkh performances first hand and to meet with the Nivkhs themselves. Armed with ancient recordings of Nivkh singing given to her by Natalia Mamcheva, as well as her own recordings, Lygia introduced me to the Nivkh music. It was then that we both became convinced that the indigenous peoples of Sakhalin and of Russia must play a great role in the life of Ensemble XXI. This diary is the first of many that we plan to publish during our voyages throughout Russia to meet and work with its indigenous peoples. This has also inspired Ensemble XXI’s Circum Arctic Expedition to the indigenous peoples.