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Two assemblages of cultural transmission: musicians, political actors and educational techniques in the Ottoman Empire and Western Europe

In this study I aim to develop a sociological understanding of why certain techniques of cultural transmission are more easily accepted in some societies than in others. With this aim in mind, I present a comparative analysis of the contrasting approaches to music education in Western Europe and the... Full description

Journal Title: Journal of historical sociology Sep 2010, Vol.23(3), pp.343-371
Main Author: Karakayali, Nedim
Format: Electronic Article Electronic Article
Language: English
Subjects:
ID: ISSN: 0952-1909 ; DOI: 10.1111/j.1467-6443.2010.01377.x
Link: http://search.proquest.com/docview/848677487/?pq-origsite=primo
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title: Two assemblages of cultural transmission: musicians, political actors and educational techniques in the Ottoman Empire and Western Europe
format: Article
creator:
  • Karakayali, Nedim
subjects:
  • Empires
  • Cultural Tradition
  • Musicians
  • Music
  • Social Acceptance
  • Ottoman Empire
  • Music Education
  • Transmission Mechanism
  • History of Sociology
  • Comparative Analysis
  • Middle East
  • Western Europe
  • Sociology
  • Anthropology
ispartof: Journal of historical sociology, Sep 2010, Vol.23(3), pp.343-371
description: In this study I aim to develop a sociological understanding of why certain techniques of cultural transmission are more easily accepted in some societies than in others. With this aim in mind, I present a comparative analysis of the contrasting approaches to music education in Western Europe and the Ottoman Empire. While, as a major technique of cultural transmission music notation found relatively widespread acceptance in Western Europe at least since the eleventh century onwards, most musicians in the Ottoman Empire resisted its adoption until the end of the nineteenth century. The analysis focuses on the ways in which the choices of Ottoman and West European musicians interacted with broader social and political processes in the two societies. In the light of this analysis, it is suggested that technologies used in cultural transmission can be seen as parts of a broader assemblage and their rejection or acceptance can be conditioned by a series of socio-political concerns. Adapted from the source document. Reprinted by permission of Blackwell Publishers
language: eng
source:
identifier: ISSN: 0952-1909 ; DOI: 10.1111/j.1467-6443.2010.01377.x
fulltext: fulltext
issn:
  • 09521909
  • 0952-1909
url: Link


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titleTwo assemblages of cultural transmission: musicians, political actors and educational techniques in the Ottoman Empire and Western Europe
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identifierISSN: 0952-1909 ; DOI: 10.1111/j.1467-6443.2010.01377.x
subjectEmpires ; Cultural Tradition ; Musicians ; Music ; Social Acceptance ; Ottoman Empire ; Music Education ; Transmission Mechanism ; History of Sociology ; Comparative Analysis ; Middle East ; Western Europe ; Sociology ; Anthropology
descriptionIn this study I aim to develop a sociological understanding of why certain techniques of cultural transmission are more easily accepted in some societies than in others. With this aim in mind, I present a comparative analysis of the contrasting approaches to music education in Western Europe and the Ottoman Empire. While, as a major technique of cultural transmission music notation found relatively widespread acceptance in Western Europe at least since the eleventh century onwards, most musicians in the Ottoman Empire resisted its adoption until the end of the nineteenth century. The analysis focuses on the ways in which the choices of Ottoman and West European musicians interacted with broader social and political processes in the two societies. In the light of this analysis, it is suggested that technologies used in cultural transmission can be seen as parts of a broader assemblage and their rejection or acceptance can be conditioned by a series of socio-political concerns. Adapted from the source document. Reprinted by permission of Blackwell Publishers
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abstractIn this study I aim to develop a sociological understanding of why certain techniques of cultural transmission are more easily accepted in some societies than in others. With this aim in mind, I present a comparative analysis of the contrasting approaches to music education in Western Europe and the Ottoman Empire. While, as a major technique of cultural transmission music notation found relatively widespread acceptance in Western Europe at least since the eleventh century onwards, most musicians in the Ottoman Empire resisted its adoption until the end of the nineteenth century. The analysis focuses on the ways in which the choices of Ottoman and West European musicians interacted with broader social and political processes in the two societies. In the light of this analysis, it is suggested that technologies used in cultural transmission can be seen as parts of a broader assemblage and their rejection or acceptance can be conditioned by a series of socio-political concerns. Adapted from the source document. Reprinted by permission of Blackwell Publishers
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