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Turkish Sacred Songs
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The Republic of Love
At the heart of The Republic of Love are the voices of three musicians—queer nightclub star Zeki Müren, arabesk originator Orhan Gencebay, and pop diva Sezen Aksu—who collectively have dominated mass media in Turkey since the early 1950s. Their fame and ubiquity have made them national icons—but, Martin Stokes here contends, they do not represent the official version of Turkish identity propagated by anthems or flags; instead they evoke a much more intimate and ambivalent conception of Turkishness. Using these three singers as a lens, Stokes examines Turkey’s repressive politics and civil violence as well as its uncommonly vibrant public life in which music, art, literature, sports, and journalism have flourished. However, Stokes’s primary concern is how Müren, Gencebay, and Aksu’s music and careers can be understood in light of theories of cultural intimacy. In particular, he considers their contributions to the development of a Turkish concept of love, analyzing the ways these singers explore the private matters of intimacy, affection, and sentiment on the public stage.
Music in Cyprus
Music in Cyprus draws its authors from both sides of the divided island to give a rounded picture of musical culture from the beginning of the British colonial period (1878-1960) until today. The book crosses conventional scholarly divides between musicology and ethnomusicology in order to achieve a panorama of music, culture and politics. Shared practices of traditional music and dance are outlined, and the appropriation of those practices by both communities in the aftermath of the de facto division of the island is examined. Art music (European and Ottoman) is also discussed, both in terms of the structures of musical life and the creative praxes of composers, and there is an account of t...
Translation and Music
Popular and multimodal forms of cultural products are becoming increasingly visible within translation studies research. Interest in translation and music, however, has so far been relatively limited, mainly because translation of musical material has been considered somewhat outside the limits of translation studies, as traditionally conceived. Difficulties associated with issues such as the 'musicality' of lyrics, the fuzzy boundaries between translation, adaptation and rewriting, and the pervasiveness of covert or unacknowledged translations of musical elements in a variety of settings have generally limited the research in this area to overt and canonized translations such as those done ...
