yeni türküler A Gizli Silah
yeni türküler A Gizli Silah
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Aşık Mahzuni Şerif, Kahramanmaraş’ın simgelerinden biri haline gelmiş en uygun Türk halk müziği sanat adamılarındandır. Çocukluk senelerından itibaren halk ozanı olma istediği dillendiren Mahzuni Şerif, içtimai konulara olan ilgisi ile bu yola girmeyi yeğleme etmiştir.
By the late 1980s, proponents of a Kemalist-inspired Turkish folk music began to worry that the "Ataturk's "musical revolution" had derece been entirely successful. Its failure could be demonstrated by the fact that the cultural vacuum in Turkish society alluded to by Gokalp had been filled derece with the proposed new national fusion music, but with the hated arabesk, a genre that embodied the ideals and aesthetic of a predominantly foreign Eastern element."[3] Türkü[edit]
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Turkish nationalist intellectual ışık Gokalp "stressed the importance of collecting folksongs to create a national music culture and indeed he engaged in the activity of collecting folksongs in Diyarbakir and carried out ethnographic research among Arabs, Kurdish, and Turkish tribes and hoped to establish a small museum of ethnography there.
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"[2] The foundation of the Turkish Republic also saw attempts to collect folkloric stories, and to create a more unified and pure Turkish language by removing many Persian and Arabic words to construct a vocabulary supposedly closer to that of ordinary people.[2]
357 dinleyici Bu kimlik geçersiz bir etikettir. Lütfen Last.fm’e ve kendinize bir iyilik mimarin ve etiketlerinizi arama ederek ve değsoruntirin.
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Turkish 'folk music' was not a unified form of music until the state construction of the early Turkish Republic. Degirmenci katışıksız noted that "the history or the reconstruction of Turkish folk music reflects political aspects of the formation of the nation-state and Turkish nationalism.
Fettah Birey Koşan Kayırıcı'a hem yaptığı organizasyonlardan, hem bile gittiğimiz her yerde bizi muhtemeşem bir şekilde ağırladığından dolayı teşekkürname ederim.