The many facets of Kurdish music
The many facets of Kurdish music
Kurdish music, its modes, tunes, shapes, have been discussed on the second day of the Kurdish Music Modes Workshop which was attended by Kurdish Musicians from many locations.
Kurdish Music Modes Workshop, which has taken place on Saturday and Sunday at Sümerpark Meeting Hall thanks to the joint organization by Aram Tigran Conservatory and Cegerxwîn Culture and Arts Center, has been attended also by Sulaymaniyah National Orchestra’s Maestro Enwer Qaradaxî, Music Trainer Goran Qamîl from Holland, Prof. Barzan Yassîn from Hewler University, Anthropologist Samal Ersani and Tigris-Euphrates Cultural Center music instructors as well as a large number of musicians from Batman, Hawlêr, Netherland, Sulaymaniya and Kobani. The workshop also witnesses lively discussions on the deficiencies of the Kurdish music. Within the discussions, where participants deeply discussed about the musical structures of all regions populated by Kurds and make proposals, there will be an exchange of ideas about the schedules will be set for Kurdish music education and the music training to be given in Aram Tigran and Cegerxwîn Culture and Arts Conservatory.
Making the opening speech of the workshop, Diyarbakýr Metropolitan Municipality Head of Culture, Muharrem Cebe, remarked that the workshop serve as a historical step as it will set up a good infrastructure for the Kurdish music, adding that the work is performed for the development of Kurdish music.
Speaking after, Prof. Barzan Yassîn from Hewler University indicated that the Kurdish music has evolved in various systems due to the division of Kurdistan into four parts. Emphasizing that the expert groups of each part need to come together to discuss about Kurdish music as a whole, Yassîn said; “We would have a much better chance of making a music analysis if music researchers from all over Kurdistan could be here today.”
‘People set their body on fire for language and culture in prisons’
Speaking at the workshop where the deficiencies of the Kurdish music, the reflection of the pains, happiness and mourning of the Kurdish people, will also be brought to table, Music Trainer Celal Ekin said the followings; “The martyrs set themselves on fire in prisons and gave their lives for their culture and language. And they were influential on a people’s protecting their language and culture.” Ekin noted that the Kurdish music, which is an important instrument of telling the social life of Kurds, has reached up to today under difficult conditions and gave examples from the harsh musical lives of Mehemed Arif Cizrawîve and Ayþe San.
The workshop will continue with discussions about the present modes in Kurdish music, the structural properties of these modes, the common characteristics of the modes at four parts of Kurdistan and the sound system and tessitura in Kurdish music.
Translation: Berna Ozgencil
Kurdish Music Modes Workshop, which has taken place on Saturday and Sunday at Sümerpark Meeting Hall thanks to the joint organization by Aram Tigran Conservatory and Cegerxwîn Culture and Arts Center, has been attended also by Sulaymaniyah National Orchestra’s Maestro Enwer Qaradaxî, Music Trainer Goran Qamîl from Holland, Prof. Barzan Yassîn from Hewler University, Anthropologist Samal Ersani and Tigris-Euphrates Cultural Center music instructors as well as a large number of musicians from Batman, Hawlêr, Netherland, Sulaymaniya and Kobani. The workshop also witnesses lively discussions on the deficiencies of the Kurdish music. Within the discussions, where participants deeply discussed about the musical structures of all regions populated by Kurds and make proposals, there will be an exchange of ideas about the schedules will be set for Kurdish music education and the music training to be given in Aram Tigran and Cegerxwîn Culture and Arts Conservatory.
Making the opening speech of the workshop, Diyarbakýr Metropolitan Municipality Head of Culture, Muharrem Cebe, remarked that the workshop serve as a historical step as it will set up a good infrastructure for the Kurdish music, adding that the work is performed for the development of Kurdish music.
Speaking after, Prof. Barzan Yassîn from Hewler University indicated that the Kurdish music has evolved in various systems due to the division of Kurdistan into four parts. Emphasizing that the expert groups of each part need to come together to discuss about Kurdish music as a whole, Yassîn said; “We would have a much better chance of making a music analysis if music researchers from all over Kurdistan could be here today.”
‘People set their body on fire for language and culture in prisons’
Speaking at the workshop where the deficiencies of the Kurdish music, the reflection of the pains, happiness and mourning of the Kurdish people, will also be brought to table, Music Trainer Celal Ekin said the followings; “The martyrs set themselves on fire in prisons and gave their lives for their culture and language. And they were influential on a people’s protecting their language and culture.” Ekin noted that the Kurdish music, which is an important instrument of telling the social life of Kurds, has reached up to today under difficult conditions and gave examples from the harsh musical lives of Mehemed Arif Cizrawîve and Ayþe San.
The workshop will continue with discussions about the present modes in Kurdish music, the structural properties of these modes, the common characteristics of the modes at four parts of Kurdistan and the sound system and tessitura in Kurdish music.
Translation: Berna Ozgencil
