This report examines the linguistic, physical, and social construction of the goblet-shaped drum in recent Turkish history. Following recent trends in organological scholarship towards a more socially situated analysis of musical instruments, I examine the role of the goblet-shaped drum as a mediator within large complex webs of interaction and social significance. Drawing on theoretical frameworks for understanding the production of difference set forth by Ruth Solie, my analysis explores the modalities of language, visual and aural representation and positionality. In order to examine the specific process of “othering” that undergird these processes, I supplement this theoretical framework with the concept of “articulation” developed by Laclau and Hall. My analysis begins with a review of the popular and musicological literature on the drum and a discussion of the way in which different names such as darbuka and dümbelek are used to construct social groups defined by notions of gender, urbanity, and professionalism. I follow this with an examination of the workflows and techniques involved in the production of two types of goblet-shaped drums revealing how these processes shape the identity of the artisans and entrepreneurs involved in the production process. Finally, I discuss the representation of the instrument in Turkish television documentaries and the Internet revealing the role of the drum in the production of a Turkish modernist narrative. I argue that while these processes may appear isolated when viewed independently, an organological approach reveals important connections between these different mechanisms for the production of difference and issues such as the masculinization of the darbuka playing profession may be more effectively engaged through an understanding of these connections. / text

Doholla or Darbuka is a traditional Arab percussion instrument with a specific restricted secondary role. My project aims to challenge this role and expand the possibilities and horizons of this instrument by using it as a solo instrument breaking the norms and expectations ruling the instrument. My research focuses on answering the following question: can I present this instrument as a solo or main instrument? I used different methods to experiment with the instrument, including but not limited to, exploring sounds on parts of the instrument’s body that were not used before to create new sounds, or switching the classical loop role of the instrument with a new more varied one. In addition to using techniques that are from different cultures and others that are specific to other percussion instruments in general. As a result, I came to find a wide collection of new sounds that can be used in different contexts, which can be utilized in composing vibrant compositions. I was also able to compose and perform solo compositions with doholla/ darbuka that are written specifically to present the instrument’s richness as well as compositions where doholla had the main changing part while another melodic instrument was providing the background loop role. And finally I managed to prove that this instrument could exist successfully outside its traditionally known boundaries. / <p>George Oro: Darboka, Doholla</p><p>Jiro Kevork: Drums</p><p>Liliana Zavala: Conga</p><p>Mårten Hillbom: Drums</p><p>Composition 6; Composition 9; Dueto; Longa Nahawand; Solo; Trio; ss;Two Darboka</p>