'ote'a

Mon, 01 Jan 0001 00:00:00 +0000

Modern and adoptive interpretation#

Interpretations of the ōtea are frequently included as part of larger Polynesian dance recitals presented at luaus and visitor-oriented live shows in the Hawaiian Islands and other Pacific-rim resorts outside Tahiti. Modern interpretations include costumes fashioned of contemporary man-made materials (polyester films such as mylar, or synthetic twines) substituting for plant-fiber or natural materials, and costume coloration such as fluorescent pinks and greens or mirror-reflective surfaces difficult to obtain or maintain from purely natural resources. Modern drum accompaniments may include drums of European or non-Pacific construction, improvised percussion instruments of modern materials (e.g. high-density polyethylene or metallic commercial food packaging), and the use of prerecorded drum reinforcement soundtracks.

Ottoman music

Mon, 01 Jan 0001 00:00:00 +0000

Naming conventions#

The naming conventions of the Ottoman’s Empire’s classical tradition are the cause of significant controversy, as naming schemes proposed by governments often place significant importance on the “nationalization” of music, resulting in contradiction. It is known that the Ottomans did not often distinguish between different musical traditions, calling them all by the name musikî, ultimately from Ancient Greek mousiké. This naming convention broke down during the Westernization of the Ottoman Empire, as Western cultural norms and practices were slowly integrated into the empire. The resulting dichotomy between Western and Ottoman classical music was referred to as alafranga and alaturka (European and Turkish) by the Ottoman elites. However, as the Ottoman Empire collapsed, new terms were employed for the Ottoman tradition, forming the current naming convention of Ottoman music. The controversies fueled by these changes are often further aggravated by an uncertainty of periodization; according to researcher on Middle Eastern music Owen Wright, starting from late 17th century, Ottoman music differed from its predecessors to such an extent that “if the two were juxtaposed, we would need to speak of musical diglossia.” Walter Zev Feldman, another researcher on Middle Eastern music, has therefore claimed that a uniquely Ottoman style emerged no earlier than the 1600s.

OT on Music Theory Print

'ote'a

Modern and adoptive interpretation#

Ottoman music

Naming conventions#