Abstract
The kemençe instrument is a crucial part of daily life in the Eastern Black Sea region’s culture. Besides the performance of the kemençe, other instruments, dances, and the ideological discourses associated with the instrument show us how local people interact with the landscape of the Eastern Black Sea region. This study examines the space of kemençe by considering its complex cultural relations in and around the province of Trabzon. We use the concept of organonscape to analyse the space of the kemençe through considering the geography and spatial features of the instrument. This concept shows that instruments are important determinants of performance and are created to mark a fluid space in relation to landscape. As a result, the organonscape of the kemençe contains musical practices and shapes the ideological construction of landscapes as spaces where the kemençe is performed.
| Original language | English |
|---|---|
| Pages (from-to) | 260-282 |
| Number of pages | 23 |
| Journal | Ethnomusicology Forum |
| Volume | 31 |
| Issue number | 2 |
| DOIs | |
| Publication status | Published - 2022 |
Bibliographical note
Publisher Copyright:© 2022 Informa UK Limited, trading as Taylor & Francis Group.
Funding
We wish to record our special thanks to the editors of the Ethnomusicology Forum and two anonymous referees for their hard work, time and insightful feedbacks for this manuscript. We would like to thank İsmail Kırcı, İlyas Parlak, Ceyhun Demir, Ali Kemal Bulut, Ömer Parlak, and Mustafa Aydın for their contribution during fieldwork. We are grateful to Robert O. Beahrs for his contribution in the early period of this research. We also thank Douglas Fears and Colette McManus for editing this manuscript.
Keywords
- Eastern Black Sea
- kemençe
- nonrepresentational theory
- Organonscape