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    An inquiry into musical trance
    (Open Book Publishers, 2024) Turan, Dilara
    Establishing a comprehensive framework for investigating the profound connection between music and spiritual experiences, this chapter first introduces the Metaphysics of Quality by Robert Pirsig. This philosophical approach offers specific ontological positions on spirituality and empiricism, laying the groundwork for the exploration of music and trance phenomena, often considered outside of empirical studies. Drawing upon the Metaphysics of Quality, the study then adopts a multidisciplinary approach to unravel the intricate dynamics of musical trance. It addresses the prevailing dichotomy in existing literature, which often isolates either the socio-cultural significance or the psychoacoustic mechanisms of music in trance states. In order to bridge this gap, the inquiry simultaneously delves into music's role as a culture-specific sign and a sonic inducer within spiritual contexts. Through cognitive and psychological lenses, the study explores theories of altered states of consciousness (ASC), examines ethnographic examples of musical trance practices from nine distinct geographical regions, and provides comparative analysis of field recordings to gain insights into the psychoacoustic properties accompanying trance states. While direct causality between sound and trance induction remains elusive, the study identifies common sonic patterns hinting at a complementary function of music in ASC. Various units of statistical regularities in music emerge as significant elements linking sound to perceptual and socio-cultural contexts of trance rituals. Through integration within a non-dualist eco-social model of sonic signification, the chapter provides a nuanced understanding of music's multifaceted role in facilitating spiritual experiences across diverse cultural landscapes. © 2024 Dilara Turan. All rights reserved.
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    The Yeni Müzik Scene in Türkiye: How did the ‘New Music’ Discourse Change Local Contemporary Music Practice?
    (Trabzon Univ State ConservatoryTrabzon University, 2023-06) Turan, Dilara; Oğul, Belma
    Although the field of contemporary music composition in Turkiye is mainly considered an institutionalization grounded on the nation-state ideology and the cultural policies of the early republic period, the political, economic, and cultural changes experienced in the last 30 years have led to the formation of alternative discourses and new institutionalizations in the field. Among these new formations, the 'yeni muzik' discourse - which can be considered as the local manifestation of the 'new music' discourse that originates in the 20th-century art music canon and the new composition scene shaped around it have marked significant differences in the local contemporary music practice. By providing a critical overview of the local history of the field, examining the early emergence of 'yeni muzik', and documenting the post-2000s development of this new compositional institutionalization, the present paper proposes 'yeni muzik scene' as an alternative formation and discusses how it differs from its predecessor 'Turkish Contemporary Music' in terms of institutional, social and musical practices. Our account of the topic - which has hardly been studied in the literature - benefits from both historiographical and fieldwork practices, hoping to provide a continuous socio-cultural narrative that situates the 'yeni muzik scene' within the local history of contemporary music.