Onur Ayas
Biographic Data
| ID | 4168657 |
|---|---|
| NAME | Onur Ayas |
| GIVEN NAMES | Onur |
| FAMILY NAME | Ayas |
| SIGNATURE | AYAS O |
| AFFILIATIONS | Yıldız Technical University |
| ORCID | 0000-0001-5317-271X |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Self-Orientalist Representations of Turkish Classical Music in the Republican Era
The critique of Orientalism in music studies has tended to focus on European Orientalism rather than the Orientalism of “Orientals.” The purpose of this study is to explore how Turkish classical music (TCM) was represented in self-Orientalist discourses of Republican Turkey as part of competing strategies to define Turkish musical identity. These discourses not only perpetuate and reproduce the essentialist conceptions of European Orientalism, bu…
Klasik Türk Müziği Kategorisinin Doğuşu ve Rauf Yekta
This study examines how Rauf Yekta positioned Turkish classical music in contrast to other musical genres while formulating it as a distinct category. Elements of traditional Ottoman music that appealed to elite tastes were associated with the category of classical music for the first time at the end of the nineteenth century. The category of Turkish classical music was established to preserve the status and demarcate the boundaries of Ottoman-Tu…
Pre-History of Street Music in Istanbul
The contemporary meaning of street music in Istanbul, especially after the 1990s, was shaped by a global context that linked it to hegemonic struggles in the urban public space. Until then, the term street music was either not used at all or did not have its contemporary meaning. Consequently, the studies on street music often overlooked music practices occurring on the streets prior to the 1990s or tended to express doubt about their status as s…
Socio-musical convergence and interaction in Direklerarası
Early Acquaintances with Modern Mass Culture in Late Ottoman Istanbul
Direklerarası, the core of Ramadan entertainment in late Ottoman Istanbul, rose to prominence toward the end of the nineteenth century at about the same time as entertainment hubs in Paris, Berlin, Tokyo, and New York. Thanks to the legitimacy provided by the Holy Ramadan, which played a positive role in reducing public suspicion and uneasiness among Muslim families towards the products of early mass culture, Direklerarası seems to draw a larger …
Direklerarası Müzik Sahnesi ve İncesaz Takımları
This study analyzes the incesaz ensembles in Direklerarası, one of the most important entertainment hubs of late Ottoman Istanbul, from the perspective of music sociology, and attempts to reveal their role in the transformation of Turkish music in the late Ottoman period. Direklerarası, a cultural center identified with Ramadan festivities in late Ottoman society, hosted a music economy that connected various commercialized music activities relat…
Bir Antropolojik Özselleştirme Örneği Olarak Vahit Lütfi Salcı’nın Alevi Müziği Çalışmaları
Vahit Lütfi Salcı’nın çok sesli unsurlar içeren Alevi müzikleri hakkındaki çalışmaları, Erken Cumhuriyet dönemi elitlerinin Batı müziğiyle uyumlu saf bir milli öz arayışının en ilginç örneklerinden biridir. Salcı’ya göre Türk halk müziği aşikâr ve gizli olmak üzere iki ana kola ayrılmaktadır. Kapalı topluluklar olarak örgütlenmiş Alevi kabilelerin temsil ettiği gizli halk musikisi, kozmopolit Osmanlı kültüründen ve Şark musikisi olarak damgalanmı…
Early Acquaintances with Modern Mass Culture in Late Ottoman Istanbul
Direklerarası, the core of Ramadan entertainment in late Ottoman Istanbul, rose to prominence toward the end of the nineteenth century at about the same time as entertainment hubs in Paris, Berlin, Tokyo, and New York. Thanks to the legitimacy provided by the Holy Ramadan, which played a positive role in reducing public suspicion and uneasiness among Muslim families towards the products of early mass culture, Direklerarası seems to draw a larger …
Socio-musical convergence and interaction in Direklerarası
Bir Antropolojik Özselleştirme Örneği Olarak Vahit Lütfi Salcı’nın Alevi Müziği Çalışmaları
Vahit Lütfi Salcı’nın çok sesli unsurlar içeren Alevi müzikleri hakkındaki çalışmaları, Erken Cumhuriyet dönemi elitlerinin Batı müziğiyle uyumlu saf bir milli öz arayışının en ilginç örneklerinden biridir. Salcı’ya göre Türk halk müziği aşikâr ve gizli olmak üzere iki ana kola ayrılmaktadır. Kapalı topluluklar olarak örgütlenmiş Alevi kabilelerin temsil ettiği gizli halk musikisi, kozmopolit Osmanlı kültüründen ve Şark musikisi olarak damgalanmı…
Direklerarası Müzik Sahnesi ve İncesaz Takımları
This study analyzes the incesaz ensembles in Direklerarası, one of the most important entertainment hubs of late Ottoman Istanbul, from the perspective of music sociology, and attempts to reveal their role in the transformation of Turkish music in the late Ottoman period. Direklerarası, a cultural center identified with Ramadan festivities in late Ottoman society, hosted a music economy that connected various commercialized music activities relat…
Self-Orientalist Representations of Turkish Classical Music in the Republican Era
The critique of Orientalism in music studies has tended to focus on European Orientalism rather than the Orientalism of “Orientals.” The purpose of this study is to explore how Turkish classical music (TCM) was represented in self-Orientalist discourses of Republican Turkey as part of competing strategies to define Turkish musical identity. These discourses not only perpetuate and reproduce the essentialist conceptions of European Orientalism, bu…
Klasik Türk Müziği Kategorisinin Doğuşu ve Rauf Yekta
This study examines how Rauf Yekta positioned Turkish classical music in contrast to other musical genres while formulating it as a distinct category. Elements of traditional Ottoman music that appealed to elite tastes were associated with the category of classical music for the first time at the end of the nineteenth century. The category of Turkish classical music was established to preserve the status and demarcate the boundaries of Ottoman-Tu…
Pre-History of Street Music in Istanbul
The contemporary meaning of street music in Istanbul, especially after the 1990s, was shaped by a global context that linked it to hegemonic struggles in the urban public space. Until then, the term street music was either not used at all or did not have its contemporary meaning. Consequently, the studies on street music often overlooked music practices occurring on the streets prior to the 1990s or tended to express doubt about their status as s…
Socio-musical convergence and interaction in Direklerarası
Early Acquaintances with Modern Mass Culture in Late Ottoman Istanbul
Direklerarası, the core of Ramadan entertainment in late Ottoman Istanbul, rose to prominence toward the end of the nineteenth century at about the same time as entertainment hubs in Paris, Berlin, Tokyo, and New York. Thanks to the legitimacy provided by the Holy Ramadan, which played a positive role in reducing public suspicion and uneasiness among Muslim families towards the products of early mass culture, Direklerarası seems to draw a larger …
Music Education and Analysis (7 works) · Art (4 works) · Diverse Musicological Studies (4 works) · History (4 works) · Psychology (4 works) · Music History and Culture (3 works) · Political science (3 works) · Sociology (3 works) · Aesthetics (2 works) · Cultural and Sociopolitical Studies (2 works)