Influences of research on taksim performance Sample Clauses

Influences of research on taksim performance. 2.3.1 Saba usulü taksim for Daracık Sokakları Xxxxxxx Xxxxxxxxx (Sinafi Trio, Thessaloniki Concert Hall, 2022) (The video is available on xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/yDCgtxM3RgaJ5wc) This performance moves in between usulü taksim and metric improvisation, alternating between them and suggesting a way of approaching such an occasion. The starting point was the idea of creating an improvisatory environment before a Saba türkü from Istanbul that is called Daracik Sokaklari. In this sense, this performance resembles an introductory taksim before a pre- composed song, but it follows a rhythmic cycle. References to the ‘Roman’155 style of performance are made already evident from the beginning. Figure 179: 9/8 xxxxx xxxxxx usulü The kanun bases its accompaniment on the xxxxx xxxxxx by translating the strong and weak parts 155 For information on Roman musical and social identity in Western Turkey see: Xxxxxx, S, Sounding Roman, (New York: Oxford University Press,2019), xxxxx://xxx.xxx/10.1093/oso/9780199949243.001.0001. of the meter to octave interchange, imitating the style of a percussion instrument and creating variety throughout the performance. Figure 180: Kanun interpretation for xxxxx xxxxxx usulü When discussing how to proceed with this performance, I suggested that I would perform an improvisation on top of a xxxxx xxxxxx, having in mind the recordings and live performances of Roman musicians. More often than not, Roman musicians choose to improvise on xxxxx xxxxxx before pre-composed tunes (oyun havası) or, in some cases, they improvise their whole performance, completely avoiding the introduction of a pre-composed part.156 These performances can be found under the titles Karşılama, Xxxxx Xxxxxx, Ağır Xxxxx Xxxxxx or Çiftetelli, once again relating their improvisations to dances and rhythmic cycles. The improvised performance in this style is mostly a task undertaken by instruments, such as the violin or the clarinet, that can provide long sustained notes. Based on this, I found it challenging to perform an improvisation on xxxxx Xxxx on top of a Xxxxx Xxxxxx, a challenge that would give me the chance to experiment with the potential of the oud for such an improvisation. The parameters that were pre-decided for this performance were the xxxxx, the rhythmic cycle, and the pre-composed song that would follow. This way, I had the opportunity to move freely with respect to the duration and the style that I would follow. This freedom resulted...
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