ÖzBu çalışmanın amacı, Türk Çağdaş Hristiyan Müziği özelinde Protestan kültürel kimliğinin küresel ve yerel bileşenler aracılığıyla nasıl temsil edildiğini incelemektir. Türk Çağdaş Hristiyan Müziği, Amerika merkezli ortaya çıkan Çağdaş Hristiyan Müziği ile benzer özellikleri taşımasının yanı sıra şarkı sözleri, oturtum, ritim ve vokal tekniği gibi müziksel özellikleriyle yerel unsurları da içermektedir. Bunun yanı sıra müziğin bu unsurları, sayıları oldukça az olan Türk Protestanlar arasında önemli bir kimlik temsili sağlar. 'Ben' ve 'Öteki' ya da 'Biz' ve 'Onlar' ayrımına dayanan bir kavram olarak kimlik, Almant ve Taylor'un geliştirmiş olduğu sosyal nüfuz kuramı (social penetration theory) ile çok katmanlı olarak okunabilecek bir kavramdır. Bahsi geçen her bir katman kimliğin farklı bir boyutunu (gözlemlenebilir, psikolojik, görünmez) temsil edebilir. Elbette kimlik yaratımındaki bir diğer önemli unsur kültürdür. İnsanlar maddi ve hayali (subjective) kültürel öğeler aracılığıyla kimlikleri yaratırlar. Çağdaş Hristiyan Müziği (Contemporary Christian Music) türü ise Protestanların dinsel, kültürel ve sosyal temsillerinde yer eden ve kültürel kimliğin yaratımında rol alan unsurlardan birisidir. Türk Çağdaş Hristiyan Müziği ise mainstream türlerden beslenen ve aynı zamanda yerel unsurlarla şekillenen bir tür olarak Türk Protestanlar açısından kültürel aidiyet, kültürel değer ve kültürel ortaklık sağlar.Anahtar Kelimeler: Kimlik, Kültürel Kimlik, Sosyal Nüfuz Kuramı, Protestan, Çağdaş Hristiyan Müziği. AbstractThe aim of this study is observing how Protestant cultural identity is represented by global and local constituents in specific to Turkish Contemporary Christian Music. Although Turkish Christian Music includes the similar features with Contemporary Christian Music in which is shown up in United States of America, it also includes local elements such as lyrics, musical instruments and musical features like rhythm, vocal technique. In addition to this, factors of this music provide an important representation of identity among Turkish Christians which are quite a little. Identity that bears the difference between 'Me' and 'Other' or 'Us' and 'Others' is a concept that can be read as multilayer through social penetration theory that is developed by Almant and Taylor. Aforementioned each layer may represent different type of dimension of identity such as observable, psychological, invisible. For certain the other crucial element in creation of identity is culture. People create identities by cultural constituents of material and subjective culture. Contemporary Christian Music is a component that takes role in religious, cultural and social representation of Protestants and creation of cultural identity. As for that, Turkish Contemporary Christian Music as a kind that is fed by mainstream kinds and also at the same time is shaped by local factors, provides cultural belonging, cultural value and cultural association for Turkish Protestants.

The aim of this article is to observe the domain of Biomusicology, sub-branches, its methods, theories and approaches. Thus, this article also tries to understand two different sides of Biomusicology, which are biological and cultural components of music, in general the difference between Humanities/Social Sciences and Natural Sciences. Biomusicology, as an interdisciplinary field, is derived from many different disciplines such as Biology, Ethnomusicology, Musicology, Cognitive Science, and Psychology. By the different approaches, the field of Biomusicology investigates the origins of music, musical universals and neurological human music-making process in all biological and cultural dimensions. In this way, Biomusicology attempts to negotiate biological and cultural approaches of music and find a solution for cultural/biological dichotomy in music studies (Cross 2001: 514). By doing this, Biomusicology also tries to fill the gap between Humanities/Social Sciences and Natural Sciences as an interdisciplinary field, which coins new paradigm for a future research.

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Kemençe (small three-stringed fiddle) is mostly performed in the Eastern Black Sea region of Turkey. In this study, we examine the manufacturing process of kemençe considering its relationship with natural sources. Data about the production and performance of kemençe are collected by fieldwork since 2018. In this context, the first author took kemençe courses from Ilyas Parlak, a well-known kemençe player, to understand the performance of the instrument in the region. He also held interviews with the luthiers to understand the usage of the biological and non-biological materials in the making process of this instrument. In this study, we propose the term sound ethnobiology to reveal how instruments are associated with nature in relation to their manufacture and performance. We have considered the term sound ethnobiology of musical instruments into five categories which are interrelated to each other. These categories are 'bioecological sources of sound production', 'ecological knowledge of sound production', 'timbre arrangement of producing proper sound', 'traditional ecological knowledge of the sound of musical instruments', and 'ecological meanings of musical instruments'. We have put forward the manufacturing process and performances of the kemençe and its relationship to the nature in and around Trabzon by considering these five categories. Thus, we revealed that the kemençe making process is strongly tied to the interpretation of the natural sources in the region. This interpretation of the usage of the natural sources creates the traditional ecological knowledge of kemençe which is also strongly connected to its ecological meaning and the nature of the Eastern Black Sea region.

The goal of this paper is to explain how musicians posit their music practices from 'low' status, which is defined by social disposition, to 'high' status. However, cultural signals, which cultural capital contains, can be gained by people to posit themselves from 'lower' status to 'higher' status. In this context, even though cultural capital represents high-status cultural signals, this concept is operated in 'non-dominant' groups as well as 'dominant' groups. In the circumstances, specific agents -who may be called cultural intermediaries -that have competence in both 'low'and 'higher' culture emerge in the process of mediating cultural capital. Thus, mediating cultural capital occurs in between 'high' and 'low' culture where reproduction of cultural capital can be seen through cultural intermediaries. In this context, Mısırlı Ahmet applies for mediating cultural capital to situate his music practice to 'upper' level by developing new techniques and playing wide range of music styles.