Author(s): Mümtaz Hakan SAKAR
The instruments have certain meanings for the societies in which they exist. For instance, “ba?lama” is a sign of cultural identity for the Turkish people. However, although “mandolin” has not existed in our own geography, it has been a instrument that the republican period has put forward, spread and adopted. Because the republic is a modernization project. Music is also an important part of this project. Therefore, Village Institutes are the embodiment of the idea that modernization starts from villages. One of the important indicators of modernization in the institutes was polyphonic music. Mandolin is the beginning stage on the road to polyphonic music. It is also the instrument of childhood. This privileges every individual who uses it. Cute, exciting, reminding childhood is a phenomenon. Village Institutes and Teacher Schools, which are the continuation of the institutes, spread this instrument and became almost indigenous. The tradition of mandolin and mandolin groups has been forgotten by the closure of these institutions and leaving their place to other instruments such as block flutes in schools. This study focuses on the revival and revival practices of the two mandolin groups in Izmir and the tradition of the mandolin groups. Based on the premise that these behaviors that take place in an urban setting are "urban music practice", he examines what these groups mean to the participants and what messages these groups want to give to society through mandolin and music. The data were obtained through ethnographic observation and interview techniques as required by the discipline of ethnomusicology. In this study, considering the large number of participants in the mandolin communities, “interview form” application was another method used to obtain data because of the impossibility of one-to-one interviews with everyone and these data were correlated with the concepts and analyzed.
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