Digital tradition : arrangement and labor in Istanbul's recording studio culture

344 Pages·2016·19.29 MB·English

by  Bates

Digital Tradition

Digital Tradition
ArrAngemenT AnD LAbor in isTAnbuL’s
recorDing sTuDio cuLTure
eliot bates
1
1
Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide. Oxford is a registered trade mark of
Oxford University Press in the UK and certain other countries.
Published in the United States of America by Oxford University Press
198 Madison Avenue, New York, NY 10016, United States of America.
© Oxford University Press 2016
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
without the prior permission in writing of Oxford University Press,
or as expressly permitted by law, by license, or under terms agreed with
the appropriate reproduction rights organization. Inquiries concerning
reproduction outside the scope of the above should be sent to the
Rights Department, Oxford University Press, at the address above.
You must not circulate this work in any other form
and you must impose this same condition on any acquirer.
Library of Congress Cataloging-in-Publication Data
Bates, Eliot.
Digital tradition: arrangement and labor in Istanbul’s recording studio culture/Eliot Bates.
pages cm
Includes bibliographical references and index.
ISBN 978–0–19–021573–6 (hardcover: alk. paper)—ISBN 978–0–19–021574–3 (pbk.: alk. paper)
1. Music—Social aspects—Turkey—Istanbul. 2. Sound recording industry—Turkey—Istanbul.
I. Title.
ML3917.T9B38 2016
781.49094961’8—dc23
2015030644
1 3 5 7 9 8 6 4 2
Printed by Sheridan, USA
contents
List of Illustrations ix
Preface and Acknowledgments xi
Notes About Language xvii
About the Companion Website xix
Part one | A Digital Tradition of Arrangement 1
1. Arrangement and Engineering 5
Arrangement and Arrangers 5
Engineering and Engineers 8
Social, Technical, Musical Things 10
Research Methodology 17
2. Tradition 23
Discourses of Tradition and Place 25
Problems of Place and Identity 29
Traditions of Work 34
Part two | Arranged Histories and Arrangement
Industries 39
3. Arranged Folklore in Early Republican Turkey 45
The Demand for Folklore 46
A Source-Resource Model for Analyzing Derleme 50
Folklore at the Birth of the Republic 54
Folklore Institutions During the One-Party Era 56
Folklore and Mass Media in the Multi-Party Era 62
Musical Practices of Arrangement, Cleaning, and Restoration 66
Cultural Geographies of Village, Town, City, and Nation 71
Postscript: Revisiting Altun Karahan 74
vv
vi Contents
4. The Anatolian “Ethnic” Music Industry 77
The Growth of Turkey’s Recorded Music Industry 80
Industries and Ortak-s 84
Ethnic Language Politics and Emerging Markets 89
University Ensembles: Grup Yorum, Kardeş Türküler, and Zuğaşi Berepe 94
Organizational and Production Networks: The Role and Legacy of Kalan
Müzik Yapım 103
Concerns with Foreign Perceptions 108
Social Networks and the Nature of Professions 109
Negotiating Outside Actors 115
Part three | The Recording Studio Assemblage in Istanbul 119
5. The Experience of Studio Work 123
Auditory Images and “Visions” of the Song Arrangement 125
Studio Listening Modalities and Technologies of Audition 128
Latencies 134
Built Environments and Social Dynamics 138
6. Digital 149
Hearing Digital Data, Visualizing Anatolian Soundings: Synesthesia in the Studio 153
Digital Audio, Music, and Nonmusical Sound 157
Acoustic Instruments and Indirect Computer Users 159
7. Aesthetic Keywords of the Studio 163
Denge/Denk/Denk Gelmek: Balance and Suitability 164
Fena Değil and Oldu Galiba: The Aesthetics of “Not Bad” When Mixes Happen 170
Tavır, Yorum, and the Art of Interpretation 174
Renk Enstrümanları 178
Parlak and Büyük Ses 182
Aesthetic Relations 187
Part four | Case Studies in Arranged Music 189
8. Arranged Music and the Dönem Filmi Genre 193
Analyzing Film Music and Sound 194
The Dönem Filmi Genre 196
Vizontele (2001) and the Formation of a New Film Music Genre 199
Beynelmilel (2006) and the Problems of Leitmotif 208
Özlem Taner’s “Kara Tren/ Seher İnende” (Black Train/ Dawn Falls) 220
Dönem Films as Technological Tragic Comedies 228
Contents vii
9. Arranging the Black Sea 231
Finding the Karadeniz 231
Gökhan Birben, “Hele Mele” (On the Outside) 235
Gökhan Birben, “Denizde Dalga Birdur” (There’s a Wave in the Ocean) 239
Bizim Yaşar Kabaosmanoğlu, “Nenni Nenni” 248
Fatih Yaşar, “Sirlarumi Söyledum” (I Told My Secrets to the Smoke on the Mountain) 255
Fatih Yaşar, “Çiktum Yüksek Dağlara” (I Headed Up the High Mountain) 261
Ayşenur Kolivar, “Mavili Eşarbumi / Lafun Aykirisi” (My Blue Scarf/ Against This
Nonsense) 264
10. Toward a Methodology for the Study of Digital Music Production 273
Methodological Implications 279
glossary 285
bibliography 293
discography 309
index 313

List of illustrations
Map of Turkey Indicating All Place Names Mentioned in the Book xxi
1.1 Source-Resource Diagram 6
3.1 Derleme Fişi 51
3.2 “Saçın Ucun Hörməzlər” 69
3.3 “Erzurum Çarşı Pazar” 69
4.1 Esen Elektronik 83
4.2 Unkapanı: İstanbul Manifaturacılar Çarşısı 6.Blok, Shot from Street 85
4.3 İMÇ 6.Blok, Business Listing 85
4.4 İMÇ 6.Blok, View from Kalan’s Offices 85
4.5 İMÇ 6.Blok, Inner Courtyard 85
4.6 Zuğaşi Berepe’s “Avlaskanı Cuneli”: Formal Structure and Track Waveform 99
4.7 Grup Yorum’s “Avlaskanı Cuneli”: Formal Structure and Track
Waveform 100
4.8 Industry Professional Networks 106
P3.1 Aytekin Gazi Ataş Editing TV Series Music 121
P3.2 Ayşenur Kolivar and Emine Kolivar Singing Background Vocals with Selim
Bölükbaşı Engineering 121
5.1 Adnan Karaduman Recording at Kalan Stüdyo 130
5.2 Darbuka Waveform 131
5.3 Kalan Stüdyo: View from the Tracking Room 133
5.4 Latencies and Büyük Ses 136
5.5 ZB Stüdyo: Floorplan 139
5.6 Duru Kayıt: Floorplan 140
5.7 Kalan Stüdyo: Floorplan 140
5.8 Duru Kayıt: Tracking Room 143
5.9 Stüdyo Arica: Lounge Space 145
6.1 Metin Kalaç Editing Ayşenur Kolivar’s Debut Album at Duru Kayıt 154
ix