Digital Tradition

Dr. Eliot Bates is a scholar whose work focuses on the creative use of digital music technologies and the growth of hybrid digital music economies. An ethnomusicologist by training, he has conducted over three years of field research in Turkey, and is the author of Music in Turkey: Experiencing Music, Expressing Culture (OUP, 2011) and articles on musical instruments, aesthetics, studio architecture, and the emergence of an industry for Anatolian minority language popular musics. Eliot is a Lecturer in Ethnomusicology and Popular Music Studies at the University of Birmingham (UK). In addition to his scholarly interests, since 1994 Eliot has been a performer and recording artist on the oud, most recently (with organist Baby Dee) recording and performing as The Big Bumble Bees.

• Contents List of illustrationsPreface and acknowledgmentsNotes about languageMap of Turkey Part 1: A digital tradition of arrangementChapter 1: Arrangement and engineeringArrangement and arrangersEngineering and engineersSocial, technical, musical thingsResearch methodologyChapter 2: TraditionDiscourses of tradition and placeProblems of place and identityTraditions of work Part 2: Arranged histories and arrangement industriesChapter 3: Arranged folklore in early Republican TurkeyThe demand for folkloreA source-resource model for analyzing derlemeFolklore at the birth of the RepublicFolklore institutions during the one-party eraFolklore and mass-media in the multi-party eraMusical practices of arrangement, cleaning and restorationCultural geographies of village, town, city and nationPostscript: revisiting Altun KarahanChapter 4: The Anatolian "ethnic" music industryThe growth of Turkey's recorded music industryIndustries and ortak-sEthnic language politics and emerging marketsUniversity ensembles: Grup Yorum, Karde,s Türküler and Zu&ga,si BerepeOrganizational and production networks: the role and legacy of Kalan Müzik YapimConcerns with foreign perceptionsSocial networks and the nature of professionsNegotiating outside actors Part 3: The recording studio assemblage in IstanbulChapter 5: The experience of studio workAuditory images and "visions" of the song arrangementStudio listening modalities and technologies of auditionLatenciesBuilt environments and social dynamicsChapter 6: DigitalHearing digital data, visualizing Anatolian soundings: synesthesia in the studioDigital audio, music, and non-musical soundAcoustic instruments and indirect computer usersChapter 7: Aesthetic keywords of the studioIntroductionDenge/denk/denk gelmek: balance and suitabilityFena de&gil and oldu galiba: the aesthetics of "not bad" when mixes happenTav)ir, yorum and the art of interpretationRenk enstrümanlar)iParlak and büyük sesAesthetic relations Part 4: Case studies in arranged musicChapter 8: Arranged music and the dönem filmi genreAnalyzing film music and soundThe d:onem filmi genreVizontele (2001) and the formation of a new film music genreBeynelmilel (2006) and the problems of leitmotifÖzlem Taner's "Kara Tren/ Seher :Inende"D:onem films as technological tragic comediesChapter 9: Arranging the Black SeaFinding the KaradenizG:okhan Birben, "Hele Mele" (on the outside)G:okhan Birben, "Denizde Dalga Birdur" (there's a wave in the ocean)Bizim Ya,sar Kabaosmano&glu, "Nenni Nenni"Fatih Ya,sar "Sirlarumi Söyledum" (I told my secrets to the smoke on the mountain)Fatih Ya,sar "Çiktum Yüksek Da&glara" (I headed up the high mountain)Ay,senur Kolivar, "Mavili E,sarbumi / Lafun Aykirisi" (Blue scarf / Against this nonsense)Chapter 10: Towards a methodology for the study of digital music productionMethodological ImplicationsGlossaryBibliographyMediagraphy (audio recordings, feature films, and TV shows)Index

In Eliot Batess ethnographic Digital Tradition, he explores folk and traditional Turkish, Kurdish, and Laz music as it is recorded and distributed with 21st century digital recording technology and within modern markets. Additionally, through numerous cases and examples, he illustrates how recorded music affects identity, linguistic, and political factors in Turkish society.