The exploration and systematization of a wide range of crossover phenomena reveals that different types of background motivations, such as marketing concerns of record companies or the experimenting attitudes of musicians, can result in highly dissimilar pieces being labelled generally as Crossover. Qualitative interviews with current international genre-mixing composers expand the scope of the study. Analyses of chosen works from Gentle Giant, Liquid Tension Experiment, Kutiman, and of popular adaptations of Vivaldi´s “Four Seasons” help illuminate characteristics of different sub-categories of “crossing over”. The examination of crossing over within popular music focuses on jazz fusion, progressive rock, classical-crossover and mashup.
How do social meanings and general associations attached to certain musical genres come into play when classical music meets disco, hip-hop meets the symphony or heavy metal meets the opera? How do artistic or commercial concepts and communication strategies affect composers' techniques of mixing genres? This study observes musical exchange between western art music and various forms of popular music with regard to intra- and extra-musical aspects. As the differences between these solutions are on the edge of both mechanical precision obtainable in tuning and human hearing discrimination capabilities, results of these models are presented with both computer-generated tones and recordings of real harpsichord sounds. The scope of this paper is to explore a range of solutions to this problem applied to a single major chord within a single register in a specific harpsichord, given this instrument’s inharmonicity coefficient (Fletcher’s ‘B’ factor). This means there is no longer one single value for an interval that agrees with the ‘natural’ interval concept. This theory is not exact in the case of the harpsichord, as its string stiffness creates inharmonicity - deviations in each harmonic’s pitch varying with its number squared. It relies on the assumption that harmonics frequencies are exact multiples of their fundamental. The theory of natural intervals is based on the coincidence of harmonics and a consistent system of heterodyne components resulting from two periodic tones. I argue that while these processes may appear isolated when viewed independently, an organological approach reveals important connections between these different mechanisms for the production of difference and issues such as the masculinization of the darbuka playing profession may be more effectively engaged through an understanding of these connections.
Finally, I discuss the representation of the instrument in Turkish television documentaries and the Internet revealing the role of the drum in the production of a Turkish modernist narrative. I follow this with an examination of the workflows and techniques involved in the production of two types of goblet-shaped drums revealing how these processes shape the identity of the artisans and entrepreneurs involved in the production process. My analysis begins with a review of the popular and musicological literature on the drum and a discussion of the way in which different names such as darbuka and dümbelek are used to construct social groups defined by notions of gender, urbanity, and professionalism. In order to examine the specific process of “othering” that undergird these processes, I supplement this theoretical framework with the concept of “articulation” developed by Laclau and Hall. Drawing on theoretical frameworks for understanding the production of difference set forth by Ruth Solie, my analysis explores the modalities of language, visual and aural representation and positionality. Following recent trends in organological scholarship towards a more socially situated analysis of musical instruments, I examine the role of the goblet-shaped drum as a mediator within large complex webs of interaction and social significance.
This report examines the linguistic, physical, and social construction of the goblet-shaped drum in recent Turkish history.
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