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Fazıl Say and the Classical Music Stage as Informal Learning Space

Second, revised edition


Aylin Buran

Fazıl Say and the Classical Music Stage as Informal Learning Space is an exploration of the classical music stage within a framework of informal learning through the interactive concert performances of Fazıl Say. It delves into the artist’s conceptualization of the music-audience nexus along with his motivation for adopting an interactive manner that emerges through a verbal interaction between performer and listener during the concert performances. Using specific concert performances given in Malatya in Turkey, this book presents a detailed demonstration of such a space as a learning medium; and interprets its pedagogical meaning from both the artist’s and the audience’s perspectives.


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1. This work is largely based on the analysis that I conducted of such a concert experience which took place in Malatya, Turkey, in 2004 as a part of my MA studies. 2. That this study focuses on Say’s Malatya concerts has no special significance other that the concert dates being suitable for both the artist and myself. 3. Kayseri is a city in the Anatolian part of Turkey. 4. Umraniye is a district of Istanbul that was previously an area of low-income housing. Over time, it has become a large district. 5. When one looks at the music history of the West; the artist began to appear as an indi­ vidual with the Renaissance idea that pays attention to individuality and human existence. A significant example of this is the funeral of Guillaume Dufay in 1464. As his last wish, the composer wanted his composition, Ave Regina Colerum, to be performed at the hour of his death. The work includes the following words: “Miser etui labentis Dufay ne Peccatorum ruat in ignem fervorum” (“Have mercy on thy dying Dufay lest he fall into the hellish fire of sinners”). Here one sees the appearance of the signature of the composer on his composition. This can be interpreted as a signification or appearance of the composer as an individual through his composition: “In this work, dated as of 1464, medieval faith meets the pronounced individualism of Renaissance” (Lowinsky, 1989, p. 353). Turkmen argues that, with the Renaissance, tonality comes into musical...

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