Professional musicianship and informal learning: Professional rom musicians case study

This study is a study on the musical learning of Musician Romanies living in Izmir. Roma musician meets a large part of the workforce music market in Turkey. This workforce superiority derives from the 'distinctive' ability of Roman musicians in their musical performances. However, Romani musicians often do not have formal music education. General expressions such as "music is in our blood" and "music is God's gift" are supported by non-Romani people. Here, in what kind of environment and how 'distinctive' musical learning takes place, the question of how Roma have musical performance skills is discussed in depth. In my research in Izmir, I took the model of musicians living in Tepecik, which is a special location with its social, physical and musician population. In this study, the effect of the family on musical learning was examined by meeting with the musicians of the Roma musicians and their families. From the 6 first association with music profesyonel to the professional musician on the stage, inferences were made from interviews with 15 musicians for 6 months. In the light of these inferences, informal learning experiences of the interviewed musicians 'becoming professional musician' were divided into processes and stages and examined in a systematic framework. In my fieldwork in Tepecik, when I asked musicians when and how they started music, I generally got the answers "I don't remember when I started music" or "music was always in our lives". Thus, as Yukselsin (2000: 79) states that "early association with music points to the existence of a system of education which the Musician Roma have formed within themselves and gives them a superiority", how does this exist "informal ways of the education system they create within themselves" This thesis is the subject of research. An important issue in the study is related to the use of the name Gypsy. During the interviews I conducted during my fieldwork, especially musicians called themselves Roma. When I ask the name of the Gypsy, I usually get the answers "a name that is said by non-Roma to humiliate", "say to exclude", "nomadic ones are Gypsy" and so on. There were different expressions in the form. As stated in Yukselsin "there is no universal nomenclature adopted by Gypsies. Therefore, we have to accept that the Gypsies nomenclature does not refer to a particular ethnic group, but is an umbrella, each of which can be examined within itself, involving interconnected groups" (2009: 52). In addition, "while the Gypsy community's most populous west Turkey lifetime, since approximately the last fifty years 'Roman' prefer the name" (Duygulu, 2006: 13-14). In the light of this information, Romans will be used for musicians living in Tepecik, İzmir. In the first part of the study, the origins of the different names given to Gypsies throughout the history were examined by making literature studies. Additionally, the dates the origins of the Gypsies of scientists and studies on the homeland, how they spread around the world on one side, Turkey and Izmir when and how given to theories about their migration, are usually made in private to a study by examining historical documents. In the second part of the study, the conditions under which they formed their identities in order to understand the patterns of Gypsy society were examined. Related terms The relationship between the concepts of ethnicity, border and status to the professions is intended to give us details about the formation of identity of Roma musicians. In order to examine the formation and structuring of identity in the process of becoming a professional musician, inferences from observations and interviews about Musician Romanies in Tepecik, which were modeled with the help of the literature study, were also made. In the third part of the study, definitions of education and learning concepts are given. In addition, it is explained who controls the learning process, what kind of learning environment and with which learning outcomes are realized in the types of learning, formal, non-formal and informal learning. As a result of this, it is seen that there is a connection between the education of Roma musicians and informal learning approach and the difference of learning types from informal music learning is emphasized and informal learning is connected with social learning theory. In the fourth part of the study, a field study was conducted in the Tepecik neighborhood where the majority of the Romani musicians, which constitute the center of the İzmir music market, were made and inferences were made by comparing with the relevant literature. The social environment and communication in the Tepecik neighborhood and the role of professional musicians in the upbringing process from childhood to stage were examined. The processes on the way to professional musicians are examined in detail and divided into categories.