EDITBYB.J.KAKOSARTICLESABOUTTURKISHMUSIC FromTurkishmusicportalhttp://www.turkishmusicportal.org/|1|P a g e

AFEWTHOUGHTSONTHEDEVELOPMENTOFTURKISHMUSIC byMutluTorun Turkish music isbe able to direct this change, composers, composers,middlemen(TV,radio,andCDpublhemusicandpresent it to the listening public) and listeners must be well educatese groupsconstituteasubjectforresearchinandofitself;Iwouldliketolimitmyartiserscando. Polyphony adds a different dimension to music. Turkish music shouldthis dimension. Polyphonic works, when they are executed intelligently and in awith Turkish music, listening, experimenting, researching, should not be excluded.osedinthetonalsystemandstyleofTurkishmusic.) Composersshouldnotbeafraidtothinonytogether. Lyrics diminish the abstractness and subjectivity of music. The lists imagination, his infinite opportunity to choose. (As beautiful as the poetry maperceived under the direction of lyrics.) Poetry provides ease to the listener,heapnessintheindustry. Weshouldincreasethenumberofinstrumentalworksinourmusic.c is generally a lyric based music. The very few instrumental works within itposed as if they were songs, according to the patterns of the human voice (incent intervals and creation of musical phrases). In a new trend, beginning withstrumental works began to feel in places as if they were truly written for instof H. Sadettin Arel, Ferit Alnar, Resat Aysu and a great many composers still llearly beenwrittenforinstruments. In addition to passages written in a vocal styal works should contain sectionsthatdisplaythepossibilitiesoftheinstruments. Inoition,every playeraddsornaments orsimplifies each notetohisown likingandaccordieryperformancecanbedifferentfromtheone before, and from the notation. This becparent when one compares Cemil Bey's playing with the notation (for example, theSemaisi). However, as on TRT and the radio, many performances today never crossttennotation. As our works are written in the same form for all players, our ps in jazz, Baroque and earlier music, play them as the composer intended them tthough the character and possibilities of each instrument are different, our musicn written separately for each instrument. It is not written with the possibilitidual instruments like the piano, guitar and cello in mind, as if everything theyed and written down. Though names such as "Ney Pesrev" or "Saz semaisiforkemengical,theydon'texist.2 ArticleaboutTurkishmusic

In light of this, Serif Muhiddin Targan has written and played works and etudesr ud, and been well received the world over. These works push the possibilitiesnice expressions were been achieved that would never even occur to an ud player.ra wrote "Dalgalarin Oyunu" for kanun, and pieces for ud that were played at thal by Mnir Nurettin Beken. More such works works, like those which we have wrn limited circles,shouldbewrittenanddisseminated. Piecesshould be written thatcofically to our instruments' charactersand expressivepossibilities,whichexhibittheiresandpushtheirboundaries. We have a repertoire full of masterworks, written accosody of our metered poetry. Such is not the case for free poetry and new Turksonglyric"cheapnesshasemergedonTV,FMandamongCDproducers,based onanattitudeof.")Ineveryera,musicianshavesetthe poetry of their times to music. Turkish muof new Turkish poetry. Metric poetry has its own rhythm that is immediately feltfound its counterpart in our music; relationships have been established between thd the "aksak" (2+3)and "major" usuls, the principle beingthat a long syllablecog note, or a short syllable to a short note. In the recent past, the conceptduced to this relationship, and at the direction of the TRT Repertoire Committee,ontinually been set to the music in a "syllabic" manner (long note for a longe for a short syllable). However the generalcharacterofTurkishmusicis"melismatipreadoverseveral notes). The exaggeration of this character leads to the rhythmo the background, and the words become unintelligible. A balance must be struck,'scompositions,andfolksongsofRumeli. A balance must be struck in the relationsable and the note that achieveintelligibilityofthepoetrywithoutmarringthecharactry poem has a feeling, a main feeling, a world. For this to be expressed inl.Apartfromthisisthelanguageinwhichthepoemwaswritten.The same poem, writtenme out with a different number of syllables, as well as different stress pattern, the music must be in harmony with the Turkish in the poetry, as if the devethin the poetryisexpressedinthelanguageitself. In their singing, performers shound the music and emotional world of thepoetry. 3 ArticleaboutTurkishmusic

AGREATVOICEOFOTTOMANTURKISHANDJEWISHMUSIC: (byBlentAksoy) RABBIZAKALGAZEFesinrecentJewishhistory,andoneofthegreat voices of our country; possibly thesician of the early twentieth century. Algazi Efendi did not win the admirationut of Turks as well. In histime,hebecameawellknownartistinallmusicalcircles,owledgeofmusic,hewasreferredtobytheTurksashoca(teacher). Because of Algazisge and superior singing style, he has survived to the modern day on 78 recordinuarters of a century have passed since the 1920s and early 30s when these recorno longer show up on the 78 market. Although he was a famous rabbi and well kng the period he lived in Turkey, almost nothing has been written about him,eitarstofollow.Nosatisfyinginformationonhimistobe found, either in the form ofThe Turkish Jewish historian Prof. Avram Galnti devoted part of his book, Trklerhe Turks and the Jews), written in 1827 in Arabic script and republished in 194, to Algazi, and providesthefollowinginformationabouthim: shak Algazi was the; his name was well known in Turkey, and especially in Izmir and Istanbul. Thishis extraordinary voice gained great fame with his works, especially his kr comp, as well as his evkefza,mye,szidilandbestenigrfasls. shakAlgazilivedinnownthere.Duringthe period when the issue of the revision of Turkish music wase newspapers, the late Atatrk invited Algazi to Dolmabahe Palace in order to gging pieces from various eras, Maestro Algazi gave a history of Turkish music. Iatitudeand appreciation, Atatrkgave him agift of a Holy Koranwhichhehadsignedis book,Trk Hars ve TrkYahudisi (Turkish Culture and the Turkish Jew), publice again treated the issue of Jews and Eastern Music,andwrotethefollowingaboueat and recognized Turkish Jewish artist,shak Algazi came to Istanbul and, remain years, busied himself with Turkish music, wrote many articles on the subject iapers, and was personally received by Atatrk. During this visit, which lasted fo, Algazi sang some pieces in various makams, and provided explanations of thesed with Algazis voice and information, Atatrk presented him with an autographedran printed in the new [Latin]script.4 ArticleaboutTurkishmusic

As Algazis beautiful voice and knowledge were well known in the Jewish world, tuire him into their synagogues with the appellation Rabbi. When offered the poshe eastern Jewish congregation in Montevideo Uruguay, South America, Algazi settleds there were many eastern Jews of Turkish nationality in Montevideo, the ceremonygue was held with eastern music. An eastern Jew by the name of Nisim Hayon whoe about that synagogue and ofshak Algazi. On Fridays and on Jewish holidays itthe handwritten Torah was taken from the Ark, to recite a prayer for the longror, king, president) of the country. The eastern Jewish community followed thisrayed first for the president of Uruguay Luiz Barres, and then for the prime mi[smet] nn (Istanbul newspaper LEtoileduLevant,Issue44,March201949). Today Anown, not only among young people but middle aged people as well. Algazi is aremembered by those 60 years old or older, those with 78 collections or who havew of his recordings. But even those only know Algazi by his music, and know to a certain degree. It is hard to believe that even the majority of Jews in Trmation about his life after he left turkey. For example even Avram Galanti, inhe Turkish Jew, seems not to have been aware of Algazis death threeyearsafteresting life story, his noteworthy personality, the story of his politics and thouous facets of his art only came to light with book, published in 1989, titledfe and Music of R. Isaac Algazi from Turkey, published by the Institute for Jewks author, Professor Edwn Serouss,wasthenalecturerintheMusicologyDepartmentofow the director of the Center for Jewish Musical Studies of the Hebrew Universit).Below,IdrewfromhisbookinprovidingAlgazislifestory. Two cassettes of Algazicordings have been produced together with a booklet. And in 2002, the Wergo musimany recorded 25 of AlgazisworksonCD(SM16222).Asthetwocassettescontain32reonto the CDs. Neither collection included any of the Turkish musical piecesAlgaziIFE zak Algazi was born in Izmir on April 24, 1889. His family was an old, ws father and grandfather were both cantors at synagogues. Like all Turkish citize,zak grew up in an environment where traditional religious values were coming ifree though. He came up within a Parisbased, western influenced, new mindset onan orthodox teaching in an elementary schoolteachingtheTalmudandTorah. His educaurkish public school. Later he continued at a Hillel Yeshiva, the director ofntor in Izmir. At the age of 19, he was appointed cantor to the newly built ska quarter, and in 1914, began teaching in Izmirs Jewish schools. At a very yted in a variety of social activities both in and out of the Jewish community,n Jewish5 ArticleaboutTurkishmusic

institutions. From 19081911 he was a member of the Izmir City Council. In 1918gina,andayearlaterhisfirstsonSalomonwasborn. Although zaks musical talent bg age, he often had financial troubles while young. Witnesses report that he secme by giving musiclessonstochildreninthecommunityandtoprivategroups. During th, he began to learn OttomanTurkish music in addition to Jewish religious music.eacher was his father, Salomon Algazi. Professor Avram Galanti writes of Salomoni, known by the nickname Blbl Salomon, with his divine voice, gained the adcomposed a ember uslnde profound mahur beste, and perevs in hseyni and hicazis other music teachers were em Tov ikr (18401920) and Hayyim Alazraki(seeSeAlgazi Turkish music. He gave music lessons to single students as well as ensembagogues. These classes were announced to the public in Izmir Jewish newspapers. Anteresting one of these announcements from the standpoint of the Ottoman culturale out on January 10, 1905 in the newspaperElNovelista.WiththeheadlineMahurFasounced previously the Mahur Fasl is being taught by teachers such asem Tovikomon Algazi. Our lessons, given individually and as a group have been very populle. During the lessons, you can listen the dghfaslperformedby maestroikr.Bdby his audiences.(5) AnnouncementssuchasthesedonotreflectonlytheIzmirJewsteyalsoshowtheleveloftheirmastery,sufficienttoinstructthepublic. During those ycompanies and musicians came to Izmir as well as Istanbul. However in Izmir theso formed a western style band; its musicians were Jewish children who had receiical education.zak also hadbecomeacquaintedwithwesternmusicduringthesameyears.of the Greek invasion during World War I caused a great depression inIzmirsJewdwith thesuspicion thattheywerecollaborating with the Greeks, community leaderseave the country. Unemployment as wellasnewexpectationsdrewAlgazitoIstanbul. Thuazi and his family moved in 1923 to Istanbul. There he entered the maftirim (chhalom synagogue in ihane. After a time, he was brought to the Italian synagogur its musical activities, and was madedirectorofthesynagoguesmusicalaffairs. DuAlgazi spent in Istanbul, he became one of the foremost personalities in its Jewplaying an active role in Jewish educational institutions. He tried to improve thetween the community and the leaders of the Republican administration, defending tt the Jewish community needed to be a part of their new country. Algazi expresshe weekly newspaper La Voz Orentale which he established. He became acquainted afriendships with many masters of Turkish music; and with his knowledge of6 ArticleaboutTurkishmusic

music, literature, history and philosophy, succeeded in acquiring a place for himseintellectualsoftherepublic. During this time Algazi sang Turkish music in Dolmatatrk, who loved Turkishmusic;andprovidingexamplesofTurkishmusicalhistory,providledge. According to one observer, he advised Atatrk concerning the writing of Tund the translation of the Koran in to Turkish. According to Leon Daniel, who noin Izmir during those years Atatrk on one occasion said to Algazi,Amanlikeyote all the optimistic expectations concerning the new order, the 1930s were notars for Algazi. The first sign of this was the increasing difficulty in findingsecond was Atatrks implementation of a policy of prefering Turks to nonmuslimssitions. One example of this new practice happened personally to Algazi: AtatrkAlgazis membership in the Radio board of directors. According to the witness Mosis disappointment at this moved him to emigrate from Turkey. However, Algazis it tendencies were also an obstacle to his remaining in Turkey. In 1933, the fornewspaper to abandon the Hebrew alphabet and adopt Latin characters was for Algazpelling sign that he could no longer stay. Thus the Turkish period of his lifef Algazis students, cantor and kanun player David Behar, who saw his teacher ons before he left Turkey, told the writer of this article in 1990 that the maesy that during that Friday service at the synagogueevenhispowerfulvoicewasmuted9331935) Even by the early 1930s, zak Algazi had begun establishing ties win Paris, and in 1933 at the invitation of the community, he went to Paris. Durdays, the Sephardic community provided him with much help. He entered a synagoguend also continued educational and community work that he had begun in Turkey. Helations with intellectuals and highlevel state officials among whom was the Frencter Eduard Herriot. But despite all his efforts, he was unable to secure a placlent other than as a cantor. There were during those years several bright intellh businessmen amongtheleadersofParisSephardiccommunity;itsmusicalactivitieswereanianborn composer and orchestra conductor Leon Algazi (who was no relation ofzamily).zak Algazi was unable to attract the attention he desired from this circed, wellhoned individuals. Even in the community newspaper his name was very infioned. His inability to realize his hopes insuchanenvironmentwastodrawhimtoaNMOTEVIDEO(19351950) In 1935, Algazi began serving as a cantor on high holiity Montevideo. The majority of Uruguays Sephardic community were emigrants from7 ArticleaboutTurkishmusic

Izmir, and thus it was not difficult for him to become closeto this community.ay to visit and check it out, he received an offer to settle there and take amunity. Hoping that he would find what he wanted in this country, he accepted tugh this took him extremely far from his homeland and Europes important Sephardiund in Uruguay a young community in search of an identity and accepting of hise quickly became an important person in Montevideo. During this period of his lih his personality in society as well as his abilities as a cantor; and was seeerinBrazil,ChileandArgentinaaswell. He assisted in the foundation of the Latinhe Zionist movement in Uruguay,thehousingofrefugeesoftheHolocaust,theformationoFund and the World Sephardic Federation. In 1938, he became the Uruguayan delegatSouth American Zionist Congress in Buenos Aires, and represented the Uruguayan comhe Sephardic Zionist Congress in 1940, also in Buenos Aires. In April of 1942,fice of vice president at the communitys 1st Regional Meeting. During the samented honorary president of the National Fund, Keren Hayesod. Later, appealing tot Alfredo Baldomir on behalf of Uruguays Jewish community, he requested that Urucoming to the refugees rescued from the Holocaust. With his help, many Jews founge,andUruguaysantiNazipoliticsstrengthened.Eventoday,Algaziisremembered inUruguanefforts. In early 1944 zak Algazi, together with another Sephardic leader, foree for the Support of Palestine in Uruguay. The Committees goal was to persuadeupport the Zionist cause. Through his efforts, Algazi was abletoconvincethepoeti,antiNaziactivistHugaFernandezArtusio, andtheleaderofUruguaysSocialistParty.Ttiveinsupporting the efforts to establish a Jewish state in Palestine. In 1944,ted Uruguay intheWorldJewishCongressmeetinginNewYorkimmediatelyfollowingtheHoloe wrote a poem in Hebrew for President Roosevelt on this occasion, which waspuborkHebrewnewpaperHaDoaralongwithitsEnglish translation. Living in South Americais life,zak Algazi died on March 3, 1950. But the musicianzak Algazi had diehen he left Turkey. A Seroussi said,Althoughhebecameinvolvedinavarietyofsociea,itis clear that the community was unable to f fully appreciate his personalitiews. Whats more, as none apart from a few individuals in Uruguay were able toated position and expertise in Turkish music, his musical life came almost to are. Forgotten and far from the musical environment in which he had earned an ouon, he experienced a profound disappointment.(p.27) HISPERSONALITY zak Algazi licult and painful period for Ottoman Jews as well as Jews worldwide. The fall oal/multifaith Ottoman Empire where they had foundrefugeforfourcenturiesledbothtellasamassemigration.8 ArticleaboutTurkishmusic

The proEuropean Haskala (enlightenment) movement, which was influential in Turkishellectualcircles,wasundergoingagreatideologicalcrisis. Atatrks ideology was founnationalism but rather on Turkish nationalism. But the Republican administration wang western cultural values, separating religious and governmental affairs; it hadas to wholly remove religious officials from state affairs. These innovations deepd the Jews traditional way of life. On the other hand, the Zionist movement whence over Ottoman Jews in the first quarter of the century was increasing the che Jewish community. This chaos in the periods political, ideological and culturat was reflected in zak Algazis worldview. Edwin Seroussi explainshisideologicalticalandeconomicaldepressionoftheperiod,Algazitriedtoarriveatan impossible ideose; on one hand uniting his religious outlook with the goals of Atatrks Turkise national longings of Jewry shaped by the Zionistmovement;andontheother,defendehavioralboundsofthe Jewish faith. This ideological pastiche found no echo in Tutions dragged him to Uruguay, far away from the main centers where the internatie occurring. Although he was involved in various communal activities in South Amerall impression is that his circles in Uruguay insufficiently understood his persowledgeandviews.Tothiswemustalsoaddthathisbrilliantmusicallife trulycametoanountrywereabletoappreciatehis profound expertise in Turkish music. Finding himselnd so distanced from the music of which he was such a master, doubtless draggedritual depression.(p.2627). zak Algazi was one of the most outstanding intellh community of Turkeyeverproduced. In 1938, historianM.D. Gaon said of him,Heghtened of his coreligionists living in Turkey (Seroussi, p. 13). His broad cultdent in the books he published in the last years of his life; in his writingsead and drew upon poets, thinkers and writers such as Spinoza, Moses Mendelssohn,, Martin Buber, Heinrich Heine and Henry Bergson. At the end of his book, Judaien in Spanish, he expressis his worldviewandyearningthus: In order for humanito be able to live in love and harmony, differences among races, beliefs and claforgotten for all eternity; in order to fulfill the great will of God; the sune and law will rise on all horizons,andsheditsgenerouslightonallhumanity,ando cantor and kanun player David Behar, zak Algazi was also a very good preachend moved his listeners. With this multifaceted personality, heattainedfamerarelywinTurkeysJewishcommunity,hebecamealmost legendary. The legend of Algazi is stilin Turkeys Jewish community. Eventheyounggenerationshaveheardhisnamefromtheirf. LITERARYWORKS 9 ArticleaboutTurkishmusic

Algazis literary works consist of religious poetry, newspaper articles and two edoks he wrote on Jewish issues. He published his books during the last yearsofhemsandpoetrycollectionsaresignificantforTurkish music.Everyoneofthesepoemswaswdtogethertheyform a series of lyrics. Each series carries names of a makam sucfza" or "szidil. The six poems under the title Bestenigr are lyrics writtenn in the same makam; one of the works in the fasl is by the famous Dede Efes with Algazis devri kebir perev which he composed on the words of a poem bl Najara (see Seroussi, p. 29). In other words, in Ottoman Jewish music the pemental work, was changed into a song with lyrics. The other poems in the seriesurkish composers wrote for various works in the same makam. The Szidil series,ms, are the lyrics to a famous szidil suite composed of lyrics adapted to twoby Tanbur Ali Efendi; the first poem is again Algazis devrikebir perev compos. All of the poems were written in a structure fitting the Ottoman Jewish poetiThe meters of the poems are syllabic, basedonthenumberofsyllablesinthelines.Tthereight or 16 syllables; as stressed by Seroussi (p. 29), the useofsyllabicsyllablelinesisaclearlydistinguishingfeatureofTurkishfolkpoetry. After his depary, Algazi lost his creativity as a poet as much as he did as amusicians. SOBefore moving on to Algazis most important works, his music, it will be helpfulastandhistoricalbackgroundofOttomanJewishmusic. Based on a blend of Turkish mure (makam) + Hebrew lyrics, the Ottoman Jewish musical tradition is believed to16th century in IstanbulandSalonica,withawellknownpoetnamedSalomonbenMazalTov.istorian Salomon A Rozanes, Avram Galanti writes: Due to their contact with Anadthe Jews coming from Spain had adopted Arab music and had difficulty in acceptin. During the reign of Sleyman the Magnificant, a rabbi by the name ofelomo (apted Turish music to Hebrew religious verse and at the same time to Spanish Jeis continued up untilthepresent.(8) Foremost among those who followed the coursBen Mazal Tov was poet Israel Najara (15551625). In an anthology of Najaras lye late 16th century are Hebrew poems set to Spanish, Turkish, Greek and Arab mee pieces are in the rast, dgh, hseyn, buselik, segh, seghrak, nevruzacem,iz makams. A composer as well, Najara composed also composed pieces in these makthe practice of setting Hebrew lyrics to Turkish melodies, or writing original woew lyrics, within the rules of Turkish music. After Najara, the Bursa poet Rabbid many10 ArticleaboutTurkishmusic

who followed him wrote poems for alreadycomposed works, and arranged these poemsrdingtomakam. Najaradiedin1625,andGansoin1640.ThefamoustraveloguewriterEvliyad includedsectionsoninstruments and musicians inhisbook dated to 1635 1638,tion on Jewish instrumentalists. For example, in the section Magicians and Comicsntertainment ensembles, known as kols. About one of these, the Patakolu kol, h300 people, all of whom are Jews (...) their instrumentalists in particular arekolu himself, who gave his name to this kol, was considered precious by theember Samarka Kol is completely composed of Jews writes elebi, Since Adam feln has seen such singers and musician been seen (11). A Jew named Yako was ankal (Pan pipes), and another known as Karaka was a wellknown player of tanbulrst half of the 17th century, these records of Evliya show clearly that the Jewssh music. Furthermore, the number of Jewish musicians in Istanbul increased greatlr performers began to emerge from them. Cantemir, who came to Istanbul at the eury, referred to a Jewish man by the name of elebikoasoneofhismusicteachersnturies, the center for music moved from Istanbul to Edirne. Until the recent pam of Edirnes Sephardic community was the finest performing ensemble of Ottoman Jth the broadest repertoire. All of the workssungbythemaftirimwerewrittenaccordimsandusls (meters) of OttomanTurkish music. After being passed down from generan over the centuries in the form of manuscripts, they were printed in a book tezHaQedem,publishedin1921byIsaacEliahuNavon.Historian Abranam Danon ties the ded in the communitys music to the influence of the Mevlevs. Although Mevlev lly in Edirne, both oral and written Jewishsourcesindicatedthatfromthe standpointas more important a center than Istanbul. Providing the following information aboue Maftirim, the Encyclopaedia Judaica refers to Danon on the subject of the relanJewishmusicandtheMevlevs: EdirnewasatthesametimeacenterofJewishmusic.Thendedinthe17thcentury.EveryFridaymorning,thisensemblewouldsingworks from a holyounterpart to the PersianArabic word eng (harp)inthelocallanguage(14).ManycoiaandRomania, when in need of a good cantor, would turn to Edirne. The worksle and the fame they earned contributed to Edirnes increasing status as a centeic. Aaron B. zak Hamon [authors note: He must be the 18th century composer kni Harun,), Abraham Zeman (19th century) and Joseph Danon (1901) may be countedn composers to come up in Edirne. A. Danon collected and published a large numbongsfromtheEdirneregion.DanonsuggestedthattheEdirneJewsmasteryofeastern musicrvishlodgemusic,thestyleofwhichtheytookastheir example.(15)11 ArticleaboutTurkishmusic

With these observations included in his memoirs, singerMoeVtal exhibits in a sessandmusicalinterchangebetweentheJewsandtheMevlevs: The abovementioned singersacohen, Salomon and zak Algazi) were greatly influenced by the music of the dermember, when I was a child I would run out of the house every Friday afternoonmentary school) and go to watch the ceremonies in the dervish lodges and listenul melodies. (...) In Izmir, other Jewish music lovers also would come frequentlyo listen to the music performed there. Every dervish not only sang well, but alowledge of the Islamic musical tradition. The dervishesalsoknewthemakamsextremelyntorslearnedtheirbeautiful melodies,andbroughtwhattheylearnedintooursynagogues.the book Shirei Israel BeErez HaQedem, this information given on the concertnlighteningfromthestandpoint of understanding thetypes of compositions that Jewishfrom Mevlev music, and the order of performance: Before each makam, the choruse) would begin chanting alone. Slowly, in free rhythm and improvising according twould chant verses from the holy book. But according to the rules of the makam,he tonic, and finished in the makam of the piece that was to be performed thatethingattheendoftheperformance.(Seroussi,p.63) From this, we understand thatical taksim, and generally endedwithoneaswell.Thisarrangementcanbeconsideredanarrangement of the Mevlev zikrs, the only difference being that the taksim wasatherthaninstrumentally. The maftirims practice of singing works in a differentis also a characteristicofMevlevmusic,inwhichanayininadifferentmakamischanteebrewlyricstraditionthatbeganwithSalomonBenMazaland Israel Najara has continueday. Even in a period where western music, with its bands, orchestras, choruses,ettas were becoming widespread, it was still this music that was being performedues of Istanbul.HereisamemoirfromtheperiodofWorldWarI: During the great warls were 150 lira per month, a rabbi had been brought by the congregation of thaldrm in Galata, who was receiving 300lira per month. Hehad a deep voice. Heositions of the late Hamamzadesmail Dede, adapting them to the words of the Publicanperiod,whenonlywesternmusicwasreceivinganystatesupport,the synagogues, bosh musical tradition, were perpetuating their traditions. RaufYektaBeyprovidesrelahis: Here I ask my readers to indulge me as I relate a few of my memories:go, at the guidance of Moiz Efendi, doorman at the rabbinate, I went to a synoas present for the service. With their fine voices the cantors chanted a serieskam beyat. Among these one of them12 ArticleaboutTurkishmusic

seemed familiar. With a bit of attention, I realized that they had adapted theten by the Turkish composer Dede Efendi, Bir gonca femin yresi vardr cierimdere performing this masterpiece equally masterfully inHebrew!What was odd wasthats, inadaptingthepsalms of David to worksfromtheTurkishsecularrepertoire,sawnoeterennm the interjections or meaningless syllables such as Canm yel lel llowedtheversesintheoriginal!(17) Ruen Kam also related a memory in the samerkish Music Chorus program with explanations of the pieces broadcast in the 1970o, devoted to our famous Jewish composer Tanbur zaks glizar suite. The memoterners, I will never forget, forty years ago zak Algaz, who had come to Istsynagogue on the slope ofihane in Istanbul. There, as far as I can remember,a in evcr by 18th century composer Mehmed Aa, Gelince hatt muanber o mehus lyrics.(18) All of these memoirs may give the impression that the Jewish munsists only of secular Turkish musical works. But that would be a mistake, becauas many Turkish works adapted to Hebrew words as is commonly supposed. Accordinganun player David Behar, whom I consulted on this subject,thepracticeofputtingHhcompositionsissomethingthat tookplaceonlywithmuchbelovedworks.Hehimselfhadadasem ey sanem senden" acemairan beste and Muallim smail Hakk Beys nihavend abrewlyrics. In 1990, I went for seven or eight weeks in a row to services atavid Behar works and directs the maftirim chorus. The maftirim sang fasls ofknown as kr, beste, ar semai, ark, and ilahi in makams such as dghese, by coincidence, I heard Zeki Dedes acemairan beste, "Bin cefa grsem eyimsmail Hakk Beys nihavend ar semaisi, "Seni hkmi ezel b devrnetmekay the great majority of the pieces in the synagogue music repertoire are originosed within the makam, usl and beste forms by Jewish composers who were trainedproach to and tastein music. Inpresentday Istanbul, even in Turkey, the most ftive of Ottoman Jewish music is the ili synagogue and its maftirim, under thehars finest student, David Sevi.Consistingofsevenoreightcantors,thegroupsingsste,""semai,"nad"ark"etc.everyFridayafternoon. TheinteractionbetweenOttomanTurkhemphasizedthusfarhas at times been inverted; that is, Jews have taught musicexample, according to Avram Galanti, Rabbi Avram Mandil (the son of the TurkishRabbai emoil Mandil), who lived in Istanbul in the late 19th century was a pioarch in Turkey, and was the teacher of the famous Galata Mevlevhane Sheikh Atau0) (19). Another wellknown historical13 ArticleaboutTurkishmusic

example is Sultan Selim III, who took tanbur lessons fromzak Fresco Romano, who" According to a personal communication from David Behar,zak Algaz also gave ms and especially to women (20). But most interestingof all was that at times,posers in the common makam, usl and even composition type, to be sung in theat times able to make the transition into Turkish secular music. These words froic teacher eyh Halim Efendi gives us noteworth clues: As zak was a pious manat the fourth verse of the bayati perev of a certain piece sung inthesynagoguitionsofthewordamen.(21) And just as the Jews had grown attached to Turkishatly enjoyed listening to the performances of the Jews, who had become masters o.TheIzmirbornAbrahamAtalef,whohadheardAlgaziinthesynagogue,saidthat Mevlevsand listened enthusiastically (see Seroussi, p. 22). David Behar related that asidevlevs in the Galata lodge, Zekizade Ahmet Efendi, Muallimsmail Hakk Bey andto the synagogue to hear Algazi.HealsomentionedthatMnirNurettinSelukhadtravelorder to Algazi and had been very moved by him. And in listening to Algazis rain features of his performance style that indicate that Mnir Nurettin Selukhadhim. Hafz KniKaraca is alsoknown togo to synagogues fromtimetotimetolistenHEUSEOFMAKAMINOTTOMANJEWISHMUSIC Beginning in the second half of the 16th cJewish religious musicusedmakams,butsecularandentertainmentmusicalgenresaswell.s of Ottoman Jewish music were Istanbul, Edirne, Izmir, Salonica and Bursa. Howevinfluence reached other cities quite far from the abovementioned centers. For examving in areasof the Ottoman state such as BosniaHerzegovina, Macedonia and Serbirved to sing makam music until recently (22). Other sources indicate that this mached even farther to cities including Venice and Livorno. One of these relatesJews living in Venicein1628celebratedaholidaybysingingTurkishsongs(23). Ottomans considerable variety in its use of makam. The book Shirei IsraelBeEretxHaQads. The makams in the pieces notated by David Behar, which constitute the repertoemusicnumberaroundforty.Amongthemakamsusedinbothcollectionsare certain makamsery rarely used in Turkish music today, including argh, araban, arazbar, arazbarnibur, nhft, tahir, buselikairan, sazkrandpengh. In addition to the makawish musicians also adopted the mek tradition which constituted the foundationeducation, teaching and performance (24). Instrumental works such as perev, saz sksim had simply been set to words; it is clear that this change was due to thosques, the playing of instrumental music is forbidden. (As the14 ArticleaboutTurkishmusic

synagoguepieces presented here were being published on a record, there was no hangaccompaniedinstrumentally.) Jewish writers and certain information and notes inwish sources show that fromthe17thcenturyon,theOttomanJewsproducedseveralcomposesomewhoareverywellknowandwhoseworksarefrequentlyplayed,suchaszak Fresko RoLevi Hayat (Msrlbrahim, 18811933) and zak Varon (18841962); as well as oths works as well) appear in Turkish sources, including Aharon Hamon (Yahudi Harun,turies), Rabbi Moe Faro (Haham Musi, 1776), Rabbi Avtalyon (Kk Hoca, 18th.h.century),ViolinistzakBarki(19th.century),Avram Barzilay (19th. century), Rabbi(19th. 20th. centuries), Hayyim Alazraki (apHayim,1913),emTovikr(HocaSlowing composers listed in the Encyclopaeda Judaca mentoned by Avaram Galanti,roussi are, I believe, little known or completely unknown today: Rabbi Yom Tov Dond half of the 17th century), zak Amigo (18th century), Rabbi Yehuda Benaroyai Bohor (19th 20th centuries) and Moiz Kordova 20th century). Al Benaroya andmentionedbyTurkishnamesaswell,theymusthaveatleastbeenknowninthemusical circleshould also be mentioned among these composers. What happened to Algazis kr inn evkefza, mye, szidil and bestenigr and the Turkish Air Force march to whiccs? For some reason, Seroussi didnottouchuponhiscomposerside.EdwinSeroussiwasiily inUruguay.Letushopethatonedayhisworkswillemergeintothelightofday. WHAgazis style, technique and other works through pieces that have been passeddowntatedcompositions,and78rpmrecords. A few singers in Israel who were visited, mor born, sing songs and hymnswhichtheylearnedfromAlgazihimselforfromhisrecordsllectionofmanuscriptsinAlgazispersonallibraryinUruguaycontainspiecesby Jewish cir (p 37). The notation seems to match that of Rauf Yekta Bey.Therearealsonotazi.Abooklet,HseynFasl,which he notated and published in Istanbul in 1925lowingpieces: 1. Devri Kebir perev: Avram Ariyas; 2. Muhammes Kr: Avtalyon; 3.am Ariyas; 4. Yrk Semai: Avtalyon, 5. Perev Semai: Aharon Hamona (Dedicatedtoed that in 1989, the Institute for Jewish Music in Israel made cleanedup copiesublished them in two cassettes. Like all of his records, these too were recordedd 1933. Most of these records were released by Columbia, and some of them by torite companies. Yorgo Bacanos and the Jewish kanun and oud player Abraham Danielto have accompanied Algazi on many of his records. In Mizimrat Zedem (p. 40), S15 ArticleaboutTurkishmusic

that the oud player who accompanied Algazi was Aleko Bacanos. However Aleko Bacan,thecorrectnameisYorgoBacanos HISRECORDS The 32 records by Algazi that theed on cassette include Jewish religious music with Hebrew lyrics, religious melodieoSpanish lyrics, Judeo SpanishfolksongsandthesongofZion(nowIsraelsnationalans and songs are based on makam. Taking into account the transitions that Algazie pieces, we see that he used the makams segh, uak, hseyn, sab, sznk, mat and nihavend. A few songs were considered alafranka by Turkish Jews, but aevedtobetakenfromsynagoguesoutsidetheSephardictradition.Onepiece, though it doeam structure, the style and manner of singing are reminiscentofapieceinmakam.the synagogue music repertoire of David Behar, he said that the piece belonged ted zak, and was a hymn at least 150 years old. It shouldnotbeconsideredimposmousTanburzak.But the similarities between this piece and third verse of thetafa Evendis very well known bayat Mevlev ayin (which begins with the line, "king.ItispossiblethatTanburzaktookthispiece directly from the bayat Mevlevthis similarity, David Behar noticed that this hymn should be notated not in 6/4i meter,justasitwasintheayin,andtoldthistotheauthor. Both on the cassettestute and the disc published by the Wergo company, none of the Turkish works suncluded. This is a deficiency, because Algazi was not only a performer of Ottomanut of Ottoman Turkishmusic as well. Including someof the Turkish pieces he reco,ouraimwastodoawaywiththislack. Ofthethirtytwopiecesonthecassettes,amajorhat free meter had an important place in Jewish music. The widespread nature ofalso made it commonplace in improvisation. Even today, singers of maftirim beginf a fasl with a lyrical makam, and sometimes add intermediary makams; at thin sing a lyrical makam, with amin (amen) repeated by the congregation at thee no. 21 onthisdisk,althoughnotareligiousmelody,finisheswithagazel,oraclosierorrecordsAlgazimade,northeircontents.Therecord catalog in Cemal nls book,blishers, 2004) whows twenty four records of Turkish music; with the inclusion onhree songs not included in nls catalog, (evkefza ark, evkefza gazel and acreases to 27. The number of records in the cassette collection released by theish Music was 32, of which 25 were religious, 6 were secular and 1 was Zionisther complex situation, I was moved to ask the question,16 ArticleaboutTurkishmusic

Can we really say that zak Algazi displayed his true mastery in synagogue mustoirewasofJewishreligiousceremonialmusic? TheanswerIgotwasthis: No,Algaziwas.True,henevergavealiveconcert,orat least I dont remember it, but well knowne welltodo invited him into their homes. He would attend these gatherings togetfriendsandsingfasls.HewasmostoftenaccompaniedbytheoudistMsrlbrahim.He was, and also played def (he could play the oud as well). He most often sang witdid not accept payment; he sang for the enjoyment of it. He became much talkedse private concerts, now a thing of the past, into which he put all his masterpertoire; intoarkinthekr,murabbaandbesteaswellastrks. Let us be a bithat Algazi was equally a master of both genres of music. In the Ottoman musicalsicians who, like Algazi, were masters of both their own religious milieu (churchgoes) and of Turkish music. Like Zaharya, who is said to have been a cantor innbur zak (Izak Fresco Romano) who was a cantor in the synagogue; and composeran who worked in the Armenian church, zak Algazi also continuedthisoldtraditionr of Algazis Turkish music performances was former lecturer at the Istanbul CollProf. Dr. Tevfik Remzi Kazancgil. Remembering him, Aleddin Yavaa said that athat Prof. Kacancgil attended in the Beyazt mansion of bnlemin Mahmut Kemal nayat ark, Nice bir aknla feryd edeyim. A few days later, Kazancgil relateu sang Dede Efendis bayatark that I love so much. I had a friend, the welthatpiecebeautifully, butyou also sang it verywell(26). Soon therafter, Yavaalist training at the obstetrics clinic of the Istanbul College of Medicine wherel was head. Years later, Yavaa said, I ended up in this specialization, whichder, because of Dedes bayatark(27). Another event, which violinist Sadi Ilazi Sayn and other musicians,willgiveamorevividideaofAlgazisknowledgeofrepersinessman of Izmir, who was a lover of music, invited violinist Sadi Ilay ando played oud and kanun, to hs home. On the dayof the invitation, the host saroduce someone to you, and introduced Algazi to Ilay and his two musician frid a hicaz fasl, in order that it would be an easy makam. After a perev ofew, Algazi went into the first beste. The instrumentalists had never even heardso, unable to accompany him, just followed as best they could by following thed not do any more. In the second beste, they found themselves in the same situsemai but when it came to the songs they could not accompany the singer. Laterazel between the songs, but forgetfully17 ArticleaboutTurkishmusic

stayedonBbwhenhewasgoingtoresolveonA(dg).Atthatmoment,SadiIlaysaid eyvon that, Algazi went back to Bb, and resolved on A! At the conclusion of theazi, You are a greatmaster,werejustplayers. Thefirstpartofhismemoirissigniisgreatrepertoire of Turkish music, and the second portion in that it indicatesch and makam structure. It also cannot fail to spur the thought: Although thereasterful performances among the records we are publishing here, these cannot fullynowledgeofhisartandthelevelofhisperformance. BlentAksoyNOTES: (1)AvramGalanti,TrklerveYahudiler,supplementedsecondedition,TanMatbaas,. (2)Galanti,TrkHarsveTrkYahudisi,FakltelerMatbaas,Istanbul,1953,s.4546.usicofR.IssaacAlgazifromTurkey.Thisbookis availablefrom::Renanot,InstituteforJgeSt.Q.O.B.7167,Jerusalam91071, Israel.TheinformationtakenfromSeroussiisinthiahudiler,s.128. (5)RelatedbySeroussi,ibid.,p.17.Originaltextisfromthenewspapey5, 1905,p.18).OriginaltextinJudeoSpanish. (6)PersonalcommunicationfromDavidBeatedbySeroussi,fromzakAlgazi,ElJudasmoReligindeAmor,BuenosAires:EditorialJudiler,s.124. (9)EvliyaelebiSeyahatnamesi,2ndbook,condensedbyZuhuriDanman,Zuhur969,pl317. (10)Evliyaelebi,ibid.p.307. (11)Evliyaelebi,ibid.p.317. (12)antemir(Kantemirolu),OsmanlmparatorluununYkselivekTarihi,Vol.III, transla979,p.242. (14)Thisisclearlyamistake.Thetruewordisnoteng,andinstrument,buainingtheworksofvariouspoets.Whatweunderstandisthatthefoldersoflyrics sungin5)EncylopaediaJudaica,Volume,KeterPublishingHouseLtd.Damascus,1972,column311. EdidtohaveretaineditsimportanceasamusicalcenteruntiltheendoftheSecondWorld War.edia,therewere2,750JewslivinginEdirnein1948;by1965this numberhadfallento400.rganizedJewishcommunity.Theeconomic depressionfollowingthewarwasdevastatingtoEdirnitygraduallybeganmovingto Istanbul,Israelandothercountries.By1969alloftheinstityhadclosed,which wasnowonlyabletokeeponesynagogueopenforworship(seecolumn3klerim,VolumIV,ankrMatbaas,ankr,1934,s. 73. 18 ArticleaboutTurkishmusic

FIVEEXAMPLESOFWESTERNCOMPOSERSINFLUENCEDBYATURKISHTHEME (bySunguOkan)

W.A.Mozart (17561791), Abduction from the Seraglio, Threeact opera, K384 ve Piadmovement(AllaTurca) Ludwig van Beethoven (17701827), op. 113, Turkish March festMussorgsky(18391881),CaptureofKarsSolemnMarch Johannes Brahms (18331897),rus and Piano, Fragen movement.

As part of the fascination with Eastern culture, the Turkish theme is a sourcee area of music as well as other branches of art. Perhaps the first examples oby Mozart. The most important of these is one of the composersmost beloved opeheSeraglio, because itssubject, as well as its set and musical themes reflecttern themes. Naturally, Abduction from the Seraglio, which contains all the charozarts musical language, is also important as proof that this great composer ofs influencedbyOttomanculture. This threeact opera takes place in the 16th centuf Selim Paa. Musicologists say that the period in which this opera was writtenerized by the Turkish Trend which was in fashion in Europe in general, and insisbasedonhistoricalevents. Mozarts other Turkishthemed piece is the third mon Piano Sonata No. 11 (K331300), Turkish March. This section, with its 2/4 mea reflection of Janissary music through the ears of Mozart. This is good evidencike other Viennese composers of histime, was influenced by the mehtermusicoftheroundedVienna. Following Mozart was Ludwig van Beethoven (17701827) who, in histhens (1811, Op. 113), included a Turkish March. Ruins of Athens was writtenerman playwright August Friedrich F.von Kotsebue which was debuting in the New Gn Budapest on February 9, 1812. Beethoven wasinspiredbyhisVariationsforPianoinittenin1809. In the fourth act of the play, Minerva awakes from a 2000year slins, and now in the hands of the Turks. Following this piece, the Marcia Allapublished in 1822 for fourhands piano was nearly as popular as MozartsTurkishMr composers of Turkishthemed pieces do not exhibit such clear influence by TurkisBrahmesandModest Mussorgsky inthe19th century wrote two pieces of note. In hiten between 1839 and 1881, Modest19 ArticleaboutTurkishmusic

Mussorgsky included a short motif, played by wind instruments, which was reminiscehmusic.Thismarchisoneofthecomposersrarelyperformedworks. The 19th century comss piece Quartet for Chorus and Piano, Opus 64, contains a section, Fragenhich were inspired by the Turks. In this choral work, set to a text by Georgeere is no influenceofTurkishmusic,howeveritshowsthecomposersinterestinthesubjfive pieces we have briefly addressed here, other exmples will emerge. But the fwn composers such as Mozart, Beethoven, Brahms and Mussorgsky produced works withmes can be considered evidence that European culture was at certain periods influern and consequently, Turkish culture. We can see that among the reasons for thihat the East always served as a fascinating source of inspiration to the Old CoTurkey but civilizations of countries such as Iran, Egypt, India, Japan and Chinaave inspired western artists. But the Ottoman Empire, especially during its risean Europe, influenced Europeanartistswith its mystery,colorfulness, andmusic;insho.Whetherthereasonwasthefearofwarorcuriosity,this influence provided an opportuof pieces such as the ones addressed here. 20 ArticleaboutTurkishmusic

MUSICATTHEOTTOMANCOURT (byErsuPekin) In addition to the musicians trainedf, musicians trained outside the palace were sometimes given permanent employmentinvited to take partnowandagaininmusicalactivities.Theterm"kmefasil"wasemployomposed of court musicians combined with musicians from outside the palace. A goohis type activity is given by the invitation to Hamamizade IsmailDedeEfenditotaesatcourt.Greatlyimpressedbythesong in buselik makam (mode) beginning "Zlfndedm" which Hamamizade had composed when still a novice in the Mevlevi dervish lodguickly won great popularity in Istanbul, Selim III send Vardakosta Ahmet Agha, onccountants, to the lodge to summon Dervish Ismail to the palace. Later, Dede Efed go many times between the dervish lodge and the royal court but, altough atnted mezzinbasi (head mezzin) he was never permanently attached to the court. TOttoman Court followed musical activities in Istanbul very closely, that it madecal progress possible by accepting successful musicians into its own organizationplayed role in providingthemwithculturalnourishment. ThesamesortofsetupistobI,whohadagreatlove of Western music and arranged for his daughter Ayse Sultanons. On hearing of the fame of Tanburi Cemil Bey, who had become identified witlfromthegreatmansionstothestreetmusicians,heinvitedhimtothepalaceso astoattion,thetermsState,CourtandSultanconsistedoneintegralwhole as regards both placword State suggested the Sultan who represented it, as well as both the residencnd the Court as the place from which the state was governed. Whether the "Courtace or to the otagh (state tent) used by the Sultan when campaign, it remained,ultan,asymboloftheState.AtthetimeofthefoundationoftheOttomanState,music occumong the symbols representing hegemony, the state and rule(beylik).Thebanner,tablrsetail)symbolisingruleandhegemony sent to Osman Gazi by Giyaseddin Mesud, the SKonya, led to the foundationoftheTablAlemMehterleriorOttomanmilitarybands.Thenected with the court consisted of the standardbearers entrustad with the protectiperial standard (sancak) and of musicians. The mehter would playeverydayintheafherthepalaceortheroyaltent,whichever theSultanhappenedtobeatthetime. The prr the court during the reign of Murat II, before the transfer of the capital tedication to Murad II of a work entitled Makasid'lElhan by Maragali Abdlkadirh of great importance as21 ArticleaboutTurkishmusic

evidenceaftheinteresttakeninmusicbytheOttomanCourt.BookssuchastheRislei Ilmah, translated with additions by Safiddin Abdlmumin, Makasid'lElhan, Nekavet'lEye Library 3646) written during the reign of Mehmed the Conqueror by Abdlaziz,dlkadir, RisaleiIlm lMusiki(TopkapiSarayMuseumLibrary,a3449),anArabicbookonmethullah M'min, Sirvni and dedicated to Mehmet the Conqueror, ehow that Easternl sources were used in the formation of a basis of Ottoman musical cultur in tt might be more accurate to say, ensured an accumulation of knowledge that madettoman music to acquireaceratinindividualidentity. TheClassicalPeriod A descriptical entertainment at the circumcision festivities held in tentn erected on an islitza river at Edirne in 1457 for the princess Bayezit and Mustafa, the sons ofror, is given by Dursun Bey in his history of the reignof MehmetIIentitledTae of the term"knun u padiseh" implies that this type of musical entertainmentnd that music was composed in accordance with this custom.From Dursun Bey's menties composed of, instruments such as the ud, sestar, tanbur, rebab and barbut, anthe sestar and barbut, it would appear that this music still displayed a puralyer and had not yet acquired an Ottoman identity. It is doubtful if the tanbure tanbur in use today, while the rebate is certainly not the stringed instrumentch more likely to be the, striged instrument playedwithaplectrumdescribedbyAhmeomextantdocumentswelearnofthepresenceatthecourtoftheConquerorofanud playerkanun player by the name of Ishak. Among the instruments makers mentioned in aer dated Rebiylahir 932 (January 1526) (Topkapi Palace Museum Archives D.9306/3)ura player by the name of Muslihiddin, who had been engaged by the palace at aring the reign of Mehmet II. This entry shpws that during the reign of th Conqmber of musicians and instrument makers empolyed at the court on a dailybasis.Foryoftime,wealsolearnthatintheceremoniesheld on the occaison of Beyazid II'ser the Mehmet II period, one of great vitality in both science and atr, cushionn the floor and music performedonthe,engandbarbut. 22 ArticleaboutTurkishmusic

MUSICOFAZERBAIJAN (byzeyirHacibeyov) In the history of theory and practiceAzerbaijani music is famous the world over. Urmiyeli Seyfeddin AbdlmminbnYusuftury) and MaragalAbdlkadirMaragi(14thcentury). The Azerbaijani musicologist Nevvason of ual Hac Seyhid Ahmet Karabal, based on the works of the abovementioformation about the music of the Near Eastern peoples in his book, VuzuhulEramusical Terms) (19th century). All of these works, sections of which havebeentraneanlanguagesaswell,suggestthatthemusicalcultures of the Near Eastern peoples ren the 14th century, and rose to form the building with twelve columns and sentually spread over an area from Andalusia to China, Africa and the Caucasus. Tical culture was established by the great scholar and expert on Greek music, Ebl as EbuAliSina (known in Europe as Avesina), ElKindi and other scholarsandthns of this musical palace represent the main mugams, and the six towers,thea,Buselik,Rast,Irak,Isfahan, Zirefkend, Buzrk, Zengule, Rahavi, Hseyni ve Hicaz.hnaz, Maya, Selmek,Nevruz,Gerdaniye,Gvet. The socioeconomic and political changesce at the end of the 19th century influenced this musical palace, creating deals; in time its columns crumbledandthepalacefelltotheground. Making use of thd palace music to create makams,, the people of the Near East created theirtwelve classical mugams underwent great changes; certain of these, once consideredently of each other, began to be seen by certain peoples as variations on otherugams once considered as submakams gained status as independent mugams in and ofus the same mugam came to known by different names and classifieddifferentlybydnlythemugamRastwasabletowithstand thedestructiveinfluenceoftimeandevents.Becogicof this mugam, it completely deserves its name Rast, meaning, Correct, Trusts considered Rast the mother of all mugams; the mugam Rast has preserved notle, but its content and tonic as well. The form and fundamentaltoneofRastistheNearEast.ThetonicistheG in the minor scale. The note in the minor octave wson below is shown to correspond even in antiquity to the fundamental of the Raanian and European musicologists tell us that according to the Ancient Greeks, thiscoveredbyPythagorascorrespondedtosevenheavenlybodies. 23 ArticleaboutTurkishmusic

Theseventonesare: Greek ArabicandPersian 1.MiMoon 1.Neva 2.FaMercury5.Uak 6.DoJupiter 6.Zirfkend 7.ReSaturn 7.Rahavi The product of a longsic reached its zenith in the verypositiveconditionsprovidedbySovietrule. Whenientific and theoretical standpoint, Azerbaijan folk musics tasnifs (songs), diringy rhythmic sections played between the sections of a makam,mahns (anonymous songandother formsprove to befounded on a clearandconsistent system. Allofthe scil hypotheses related toAzerbaijanfolkmusichaveevolvedfromthissystem. 24 ArticleaboutTurkishmusic

MUSICTHERAPYAMONGTHETURKS(byAssistantProfessorDr.PinarSomaki) 1.Introducc has occupied a major place in the life of humanity. People have mostlyreliedirgrief,joy,heroism,excitementandlove. Creating a state of trance, music has innd at times directed the masses. Music in particular, with its characteristic abintrate the emotions, has been used by many civilizations as a means of reinforcielings and healingthesick. 2.MusicAmongtheTurks Music among the Turks is astself. Some historians and musicologists speak of a Turkish musical tradition exteat least 6,000 years. For this reason we see fit to examine music and musicalrks in threedifferentareas,inhistoricalorder: 1. CentralAsianTurkicCulture 2. Isltion 3. TheSeluksandOttomans 2.1MusicinCentralAsianTurkicCulture CentralAsirly6,000years. The evgan of the Mehter band (1134249 B.C.) was known in theuk and agana; as the kziezye Turecki to the Russians and the Poles, to the Swel,andtotheEnglishasthejinglingJohnnie. Varieties of the dmbelek, ddk, an,k balama typeinstrumentswereusedinthe8thcenturyB.C.Later,instrumentssuchastheedinthesufilodges.Laterstillemergedthefingercymbals, mehter cymbals, spoons, anhe 8th century B.C., a Turkish instrument calledthepipa(bipa)wasdiscoveredbythegesthisemergedas theoudandthevariousmembersofitsfamily. Inthearea of winded by the Turkssince ancient times. InthebeginningoftheMiddleAgesthemuynuzandieand neywerealsousedinthisperiod.Thetulum,orbagpipe,isofMiddleEasternorigid.Thep(amouthorgan)wasusedbetweenthe816th centuries. Rhythminstruments:Thdlaterinstruments known as the mazhar, daire, bendir and zenbez, used at variouserent names.ThedavulistheTurksmostcommoninstrumentformusic,announcementsand si25 ArticleaboutTurkishmusic

The Huns of Asia greatly loved the eng; the yatugan of the early period laterndkanun. The oldest of the Turkish string instruments is the balama. In the eawas used,followed by the tanbur, thetarfamily, theurduguandravza(rzva) in tmafamly(bozok,ark,karadzen). The dividing of an octave into six instead offive tones in an octave instead of seven is known in the west as pentatonism,(be fve, ses tone). Pentatonism is observed to have spread from Central Asiinues in many areas. For example pentatonic elements aretobeencounteredinthevilzurumandSafranbolu,aswellasin Konya, Cihanbeyli, Nide and Eskiehir. KazakKirghn, Yakut and Karaay Turkish music contains completely pentatonic pieces, while Uzurks of East Turkistan, the Caucasus, Azerbaijan and Turkmenistan have semi pentat. AsCentralAsiancivilizationspreadthroughouttheancientworld,itcontinuedtosurviveettled. This cultural trend, increasing with the heavy migrations of the 9th ands, moved steadily westward along the northern and southern routes aroundthe Blacktroducedto the tribesof the ancientworld. ExamplesofthiscanbefoundinmanyoldtherapyinCentralAsianTurkicCulture The kopuz or saz played in the Central Asian important instrument in healing, calling of good spirits and banishing of evilin the Altay plateau and to the north, they were used especially by shamans inick and in religious ceremonies. The shaman is a master of the trance which givt he has left his body and ascends to the heavens or descends beneath the eart, he brings spirits under his power and, establishing contact withthedead,demonsshealingtotheill. Later under the influence of Islam, healers known as Baksashgar and Kirghiz Turks. During a seance, the baks would artfully combine musicry and dance in an attempt to heal the sick. The dance he performed in a compaveespeciallyhealingpowers. In Uzbekistan as well, though they were not well knoeople known as KinneYyc, which healed those struck by the evil eye. Theseheirtreatmentsinanattempttoexpeldemonsfromapersonssoul. 2.2MusicinIslamicCre Islam, the Arabs mostly lived in tents, living a nomadic life and raising car this reason their fine arts concentrated in the area of poetry. Later the relic began to emerge. Two forms of music appeared among the Arabs. One of them,ut to music; the other, tagbir,wasthesingingofprosestylelyrics.Inthiswaysec26 ArticleaboutTurkishmusic

In the beginning of Islam, the people showed resistance to music. The singing ofll received. The reason for this was that music and song was thought to turn pd pleasure, lead to the neglect of religious duties and encourage sexual desires.ophet Mohammed, pleased with those who chanted the Koran beautifully, gradually cheoples antimusic views. In the early period of Islam, the Koran was chanted inw notes. But over time began adorningitwithmelodiescontainingthemusicalcharacterands. Gradually, as the heads of state were captured by the lure of music, itingandplayinstruments.Inthisway,musicprogressedlittlebylittleand in the Abbasigher level. In this period, the famous Turkish Islamic scholar and philosopher Faed music from a theoretical standpoint in his book,KitablMusiki,andprovidedinftruments. The Turks accepted Islam in the 9th century. This old culture, which bmoving westward in great migrations, blended with other cultures and gave rise toes of music. Finding an honored place within Turkish Islamic culture, music especped in the palace and lodges, and in the Mehter bands. The main centers for ththe Mevlevihanes and the Palace. From among the Mevlevis and members of other Sureat composers, and both religious and secular developed and progressed. Within thorder, the folk music traditionthrived. 2.2.1MusicTherapyinIslamicCulture Thrf Islamic civilization it has been chiefly the mystic sects (Sufis) which have bth music, used and defended it. The Sufis mention that mentalandnervousdisordershe great Turkish Islamic scientists and doctors Zekeriya ErRazi (854932), FarabiSina(9801037) established scientific principles concerning musical treatment,especialsychologicaldisorders. In his book, Musikiulkebir, Farabi attempted to set fortp between music and physics and astronomy. According to Farabi, the effects of tkishmusiconthesoulwereclassifiedasfollows: 1. Rastmakam:bringsapersonhappinesvimakam:bringsapersontheideaofeternity. 3. Kuekmakam:bringsapersonsadnessandgsapersonfear. 5. Isfahanmakam:bringsapersonthecapacityofaction,thesenseofsecingsapersonpleasureandcontentment. 7. Uakmakam:bringsapersonthefeelingoflaughngsapersonsleep. 9. Sabamakam:bringsapersoncesaret,kuvvet. 10. Buselikmakam:bringth. 11. Hseynimakam:bringsapersonserenity,ease.27 ArticleaboutTurkishmusic

12. Hicazmakam:bringsapersonhumility. Farabi also outlined the effects of the mamusic according to the times theywereeffective: 1. Rehavimakam:effectiveatpredm:effectiveatdawn. 3. Rastmakam:effectiveinearlymorning. 4. Buselikmakam:effectiv5. Zirglemakam:effectivetowardnoon. 6. Uakmakam:effectiveatnoon. 7. Hicazmakam:noon. 8. Irakmakam:effectiveinlateafternoon. 9. Isfahanmakam:effectiveatdusk. 10.fectiveintheevening. 11. Bzrkmakam:effectiveinlateevening. 12. Zirefkendmakam:eimeofsleep. The great Islamic thinker and philosopher Ibn Sina (9801037) wroteh from Farabis works, and even learned music from him and applied it in his ptandmosteffectiveoftreatmentsistostrengthenthe mental and spiritual strengths oive him more courage to fight illness, create a loving, pleasant environment forlay the best music for him and surroundhimwithpeoplethatheloves. According tooour existence.Soundsarranged withina musical order, and in a particular fashionep reaching effect on ones soul. Theeffect of sound wasenrichedby mans art.t changes of pitch would determine a persons mood. What allows us to appreciatetionisnotoursenseofhearing,butoursenseofperception,whichallowsusto derive vathat composition. For this reason, wellattuned, harmonious tones, and the adherencitions and rhythms to principles, can haveacaptivatingeffectonpeople. In conclusperiod of Islamic civilization, TurkishMuslim doctors such as ErRazi,Farabiand Ialandpharmacologicalmethods inthe treatment of psychological disorders, and theseplied by both Seluk and Ottoman doctors,werecultivatedupuntilthe18thcentury. dOttomans ThepentatonisminpreIslamicAsianTurkishmusicbegantochangeundertheinneightnotescalecameintouse.Thismusicgraduallycametoformthe Seluk music andi music. In the 13th century, Safiyddin Urmevi emerged as a great Turkish Islamdin studied the Turkish musicalsysteminascientificmanner.28 ArticleaboutTurkishmusic

After Safiyddin, the greatest composer, musical scholar, singer and instrumentalistefromtheEastwastheteacherAbdlkadirMeragi,wholivedfrom1360to1435. When Mevlanborn1207) came to Anatolia,he also brought instrumentssuchastheney,rebab,eng,hformthecrux of Mevlevi musical culture. In time other genius composers such asntered the arena. As religious motifs gradually began to be replaced by social tart music and Mevlevi music emerged. Mevlana was especially attracted to instrumenbabandney. As Mevlevi and Turkish classical music continued on the one hand, vakish folk music such as the trk, uzun hava, atma, bozlak etc. were developint Yesevi and the nefes of the Bektashis, accompanied by kopuz andbalama. Hace had a role in introducing Mehter music, which had been used in military campahe Ottoman times, to the Janissaries. The instruments used in this music includednakkare, kudm, zurna, nefir, nsfiye,zilandzillimaa. Many fine musicians weren palace, including Murat II, Beyazt II, Murat Iv, Mustafa II, Ahmet III, SelimDuring this same period emergedsuchfamousmastersasItri,smailDedeEfendi,HafzPode,EminDede,NayiOsmanDede,EbubekirAaandKantemirolu. 2.3.1MusicTherapyAmongtgh the first serious music therapy was practiced during the Ottoman period, variotempts were undertaken in preAnatolian Central Asia by shaman musicians known asy, there are bakss among the Central Asian Turks, whocontinuetheseactivities(Gn a hospital established in Damascus by a Seluk Turk, engaged in the healing oith music. The influence of Ibn Sina continued into the Ottoman period. The Ottoor Musa bin Hamun used musical therapeutic means in the healingoftoothdiseasesaogicaldisorders. Hekimba Gevrekzade Hasan Efendi (18th century) was the studenta Efendi, who translated Ibn Sinas famous work,El Kanunfittbbi. In his ownlyuponIbnSinasbook. In his work, Emraz Ruhaniyeyi Negama Musikiye, Hekimbd which makams were effective in the the treatment of which childhood disease: iveinthetreatmentofchildhoodmeningitis. IsfahanMakam:clearsthemindandprotectsfrirefkendMakam:effectiveinthetreatmentofstrokeandbackache,fostersasenseof strengfectiveinthetreatmentofallheadaches,nosebleed,wrymouth,29 ArticleaboutTurkishmusic

paralysisandphlegmaticdiseases. BzrkMakam:Effectiveinthetreatmentofthebrainands fatigue. ZirgleMakam:Effectiveinthetreatmentofheartandbraindisease,meningitisrsoftheliver. HicazMakam:Effectiveinthetreatmentofdiseasesoftheurinarytract.einthetreatmentofpainsinthehipsandhead,andofeye diseases. UakMakam:Effectimnia. HseyniMakam:Effectiveinthetreatmentofliverandheartdisease,siezuresand him:Effectiveinthetreatmentofchildrenwhohavereachedpuberty,painsof thehips,andbwthatintheTopkapPalacehospital,youngstudentsweretreatedbymusic. Mastermusicianamsshouldnotbeplayedrandomlybut ratherthatatcertaintimesduringtheday,thesemakng comfort: 1. Rehavimakam:shortlybeforesunrse 2. Hseynimakam:atdawn. 3. Rast. Zirglemakam:atnoon. 5. Hicazmakam:inmidafternoon. 6. Irakmakam:inlateafterntsunset. 8. Nevamakam:intheevening. 9. Bzrkmakam:inlateevening. 10. Zirefkendmgh he mentioned what times during the day makams should be listened to, he alsoday into four sections and researched when each makam should be sung or listeneds also examined the issue of the effect makams had on different nationalities, aship between makams and astrology. According to some Turkish doctors, the followinre affective on different nationalities: 1. Hseynimakam:Arabs 2. Irakmakam:Irani:Turks 4. Buselikmakam:mostlyplayedforGreeks In terms of their influence on ttors determined that various makamsprovokedthefollowingfeelings:30 ArticleaboutTurkishmusic

1. 2. 3. 4. 5. 6. 7. Irakmakam:pleasureandrelish Zirglemakam:sleep Rehavimakam:wakam:beauty Hicazmakam:humility Nevamakam:bravery Uakmakam:laughter

Eachmakamwasalsoassociatedwithaparticularsignofthezodiac. The old Turkish doili Emzice, stated that music was beneficial against all disease and pain, andis by scholars and scientistsofthetime. 3.ConclusionandRecommendations This pamusic and musical therapy among the Turks from a historical perspective,andexaminentsinTurkishCivilizationsuptothepresent. Inthelightofthesestudies,thefollowineached: 1. The use of music in healing began in extremely ancient times within Crkic Culture, was practiced by people with a variety of duties, and examplesofiay. 2. In the Turkish Islamic world, music therapy activities and especially then hospitals first began in the 9th century, and exhibited great advancementsupuny. 3. It is notable that in music therapy, countries authentic national music isfferentmakamsandinstrumentsareusefulaccordingtothetype ofdisease. 4. As statedic, with a pentatonic origin, a high facility of improvisation and emotion, andany microtones (komas) has a many faceted capacity for the expression of emotionning steadily in importance in psychotherapy. This thought is supported by researcdinvariouscountries,andbypaperspresentedatthe2ndInternational MusicTherapyandEosiumheldinIstanbulin1993. Themusictherapyideasandpracticesaddressedinthisartind reevaluatedwithmoderndaytechnology. The relationships between makam and temperaand astrology could be readdressedwithinmorescientificapproachesandinclinicaltriaerelyasamodeoftherapyforanarrayofdiseases,musikcanalsobevery usefulasaprevoicesofappropriatemusicalgenresmy have positive effects on people living a stresstyle, on factory workers in order to increase productivity, and even on animals,roduction of products suchasmilkandeggs. 31 ArticleaboutTurkishmusic

Bibliography: 1. ArslanTerziolu,TrkslamPsikiyatrisininveHastanelerininAvrupayaess,Istanbul,1972,p.24 Bahaddingel,TrkKltrTarihineGiri,KltrBakanlPreavi,SanemPress,Ankara,1978,p.25. 3. MurtazaKorlaeli,bniSinadaMzik,Erciyes349. 4. NazmiYlmazztuna,TrkMusikisiAnsiklopedisi,MilliEitimPublishingHouse,IdkYiitba,MusikileTedavi,YelkenPress,Istanbul,1972,p.34. 6. ahinAk,AvrupavihiGeliimveUygulamalar, zEitimPress,Konya,1997,pp.48,77,96,109,116,132,1aviMusikisi,MetinlerPress,Istanbul, 1993. 8. RahmiOruGven,TrkMusikisindeKkl,1986. RahmiOruGven,TrklerdeveDnyadaMzikleRuhiTedavininTarihesiveGnmzeddoctralthesis,Istanbul,1985,p.24. 32 ArticleaboutTurkishmusic

MUSIC:AREFLECTIONOFREFINEMENT (byCinenTanrikorur) People are disappointednd have become accustomed to end; they want them to maintain the same beauty, ftement to the end of their lives. They are sorry when they end, because livings is something we love and are accustomed to. Even young people, or those witeducation take comfort in thinking that death is not an ending but rather a traationoflifeonadifferentplane.Butifcultureendswhathappens then? If the cultureived loved and become accustomed to for a thousandodd years ends without beinghen? What kind of transition is this, and in what direction? As the end of culll to ever lower levels will eventually when no lower level remains for it tness, what sort of continuation is this, and of what, what hopescan it provide?herthanthosewhowishaculturetodegenerateandrotintonothing? The Chinese foundedion in our world. Their great thinker Confucius hadseveralthingstosayaboutmusichas spoiled, then one must judge that many other things have spoiled in that somportance he assigned to music suggests that this great this great historical thiof our own scholars may have been a musicianaswell.Therearenorecordsofhisering how definite a measure he considered music to be of a societys ascendancethen even if he was not a practitionerof music, there is no doubt that he wasirit, with a deep concept of the meaning and significance of thisart.ThefamousehmetAa,wholivedduringthereign of Selim III, before going on the Hajj, wentprofessor Arif Efendi, and said I am going on the Hajj, there I will forswearer playagain.ArifEfendianswered,Playmyboy,play,andafterplaying,playevenonthm sure that both from the title as well as the opening statements, the readerd where this article is going, I would still like to say a few words about th, which is truly a secret of ascendance in our history and a mirror of our cu; after all Ive neitherthemindnortheknowledgetodoanymore. In his FazillelChiz described the Turks thus: It is impossible to consider the Turk apart fevery part of that horse: on his back, in his stomach, in his tail, in his mamusicis in everypart and every thingoftheTurk:in hislove, hisgrief,his peacel. Sadeddin Arel proved that with his aphorism, The Turk is born with music, lies with music. And whats more, we cant separate ourselves from music even afchanted at our graves, readings of33 ArticleaboutTurkishmusic

the Koran at various anniversaries of a death, our mevlids, our kandils, our zik,ourglbanks...rightuptoDayofJudgement. Allright,butwhymusic?Whencetheholinessianscalled the sacred science, and which Tanbur Cemil described as the tonguehis question is in the root of the word music, which has gone into all languagespokenbytheMuses.Thismeaning, whichbringsoutthemetaphysicalsideoftheartofwhy the human science of mathematics, and consequently of theory, is unable to sthe problems of music. Here also is the answer to why, in worship, medicine andso attached to music, and find such strength in it. Turkish music, whichisessenuetotheemphasisonlyrics,isfirstandforemosta music of poetry. In the same wayivan literature, the subject matter of which draws mostly on mystical allegory ance, is first and foremostamusicofthetongue. ylesermestemkiidraketmezemdnyan? hferydn,Fuzl,incidpdrlemi, Kerbelyakilehondisengavgnedr? Iamer,whatisthewine? Yoursighsandcries,Fuzlcausetheworldtomourn Ifyouareplearel? If for a moment we do not consider the meaning, are these words above allsic,thatis,thelanguageoftheangels? Where are these poets, where is this lanhich we pass off lightly with the clich Divan literature, which we, strickench minds H.A. Ycel, have neglected to introduce to our youth; which the likesall to openly denigrate in their books this language, dear children,isnotArabeneitherArabnorIranianunderstandsit!But atleastfromthetimeoftheSeluksupunti, whichishelduptoyouasamodel,poorsoulswhohavecollaboratedwithSatanwere bhe symbol of a civilization which treated the mentally ill in University hospitalayseri and Edirne with the meatof birds, the fragrance of flowers and speciallyof music; the language of the magnificenceofanempire. In the mid 19th century,d evki Bey and continuing to the composers to follow, the taste in lyrics slowAlthough Zeki Dede, Tanbri Ali Efendi, Rahmi Bey and S. Ziya Bey tried to maial level, they were unable to prevent the singing of pathological emotions thatddin Pnar, appealed to the customers of the alcoholserving nightclubs. On the sics education, TRT which, with the exception of one branch director, never worriorked with all their might to destroy taste in language before that of music. His a song, music and lyrics by Sait Ergen, and34 ArticleaboutTurkishmusic

broadcast constantly sung by M. Milli, that should serve as a lesson: Nikhszalarbizi,nemahkemeayrr, DmanlarnerrindenbiziMevlmkayrr. Nikhszdiyorlarende,nederlersedesinler. Gnahbizim,sevapbizim, Varsnatlasneller! Noweddingtodprotectsfromtheevilofourenemies Unmarried,theysay;letthemsayit Itsasinaywhattheywill Thesinisours,andthegooddeedaswell Andtohellwiththerestoftdisgusting picture: from Lord brahim (Tatlses), who said Kul oldum bir cefkrell slave to a tormentor, shes myroseinthegardenoftheworld,)thefalltoKlols loss of culture an issue only in the music on the radio and TV, cassettes ahear the degeneration in the mouths of the muezzins, those who, five times a daall to prayer] in a tastelessly affected Arabic accent? As this people loses itsnsciousness (that is, its identity), just as secular music imitates the West, relis becoming an imitation of the Arabs. However if Arabic music had something tohey have sent for teachers from us every in every country in which they openedin the case of honestmusicianslikeM.KmilelHuly,thewriterofthebookKitbuMs estizetuneletrk (Our maestros the Turks)? But after the West, learning notwisdom of the east and enriched itself by colonizing others, became accomplishedose of other religions and debasing them in the name of God. This loathsome gamumented in the works of 5. Ayverdi, as well as C. Meri, T. Sreyya Srma andher subject. The Turks have been praised throughout history for the beauty theyillumination, calligraphy, ornamentation, ebru, engraving, carpet weaving). Architectue is created in stone, but who was it that nourished,protectedandelevatedtheir? First was the Mehterhne: since the time of the Huns, the military music schective was to use the booming sound of their foreign and terrifying music, audibrney distant, to attack the morale of the enemy, destroy hiswilltofightandthusdbywar.35 ArticleaboutTurkishmusic

Next was the Endern: the musical department of the Palace university which, regaage, religion, or race, took talented youths coming from all parts of theempireer this was the Mevlevhne: a network of music and fine arts academies, spreadrs of the empire, which with the Koran and Mathnawi, and with the ney, kudm,lumination and ebru, taught the beauty that makes us human;andtrainedourgreatestn line were the guilds of the musical profession, and finally, the private mekhopened in the homes of wellknown composers or in public locales,andgavemusicleseinterested. The training in the Mehterhne and the Endern of the French spyf Napoleons wife Josphine, who took the name Nakidil Sultan in the palace, wamud II. The Mevlevihnes, along with the other Sufi lodges, were locked in 1923.ial school of theatre and music, founded in 1914, educationinTurkishmusicwasabotchfromMusaSreyya,son of composer Giriftzen sm Bey. Later, in 1934,broadcastdio wasabolishedbyorderofMinisterofDomesticAffairskrKaya.Inthisway,aswecuh our own hand, our music inevitably headed towards its demise. Unable to listenic on their own radio station, the Turkish people, pleading when going to buy aio but please let it not play Necip Cell!, turned in desperation to SawtilArrabia from Cairo); learned what wavelength Tehran and New Delhi radio was on. Anoors tune vrmu, nnaranam... the musical which launched, if not the firstame famous. After the mid50s, as you well know, oudist Suat Sayn and other pegan their journey to the presentday,andnowmakeyourhairstandonendwiththeirKuredoesnotdestroyitsown:Itdoesnotpolluteitswater, it does not burn its foresimals, it doesnt up and uproot a centuriesold plane tree. But mankind? Hostageate and selfishness, man uses fire and weapons to destroy, burn and kill. A grawork of centuries; his music, a monument to enlightenment, breeding, light, and xtofopeningaroaddemolishesitwiththebulldozerofWesternapery.Aroad? To where?ightenment, darkness and illbreeding... To what end?Tomakeamonkeyofmen,whoford,notonlyasmen, but as gentlemen. A monkey, who has sold his consciousness tate.ThatWestwhichwasactuallyanadmirer,evenimitatorofhiscivilizationbefore it whe great composer Beethovan proudly wrote at the head of someofhispieces, allae of Turkishmilitary music, washenot experiencing the hope and trepidation thatmall measure, approach the magnificence of our Mehter bands? When the Yugoslavs sd, Old Turkish Music in Yugoslavia, made twenty years ago, that the Turks eveetheynotshowingthecouragetorememberfondlyacivilizationtat we are trying to fong a visit to Turkey in the 1990s, Margaret Thatcher gave a speech before a conor. Her opening sentence was36 ArticleaboutTurkishmusic

extremely meaningful: We greatly admire your old culture. What was she trying tay, while I was living in Ankara, a taxi driver switched the radio away from Tas over. When I asked himwhy, he said Brother,whats to listen to on TRT? aast. How could TRT, putting kemene next to violin, a ney next to a clarinet,e tanbur under the oud and kanun, and turning it all into a big mixed pickleiano as well, compete with the violins and rhythmic orchestral music of Arabesk?steadilylosing its listeners,theRadio, inordertoforce itselfupongarnerapplausefto applaud whatever it sees, good or bad, has resorted to special entertainmentrge studios. Referred to among the musicians as special torture programs, the otween these programs and the nightclubs is that you arent pressured to buy dringether now!, femalesingerswhohavemanagedwiththirtysongsovertheirthirtyyeararing on stage or at weddings, can at least don their lownecked outfits, snap thin rings as if dancing, and get the applause of their audience. Then, like thies touring Anatolia, began the intercity radio concerttours(whichcontinuestill)tivejustificationofaclose,live dialog with the listener, these programs get thh the most superficial, average songs. As if corrupting the alreadypoor taste evenough, the endless bus trips day and night, and the nights spent in beach cabiletsaretrulytorturefortheartists.Butwhatcantheydo?Theyvesigned the TRT agreefect, well do whatever we want, whenever we want! But even here, there werently wasnt enough to create this warm, close dialog; so the latest invention watea concerts. Here, the Radio sends a few instrumentalists and singers to the ho play and sing; the hosts get together their darbukas, tambourines and finger ceentertained.Thisisthenbroadcastasaradioprogram.Ah,youatTRT,in whatothercounngdisplay?EveninUgandaorZambia, is an artist at a state institution sent to tin him in his house?! Whatwillweseenext...Perhapsalittlefartherdowntheline,tm the Sulukule groups to the TRT High Commission as a Head Turkish Music Consu, we turn off the TV as soon as the news is finished. Apart from this, oncehen a friend calls and says turn on suchandsuch a channel, theyre playing yoourse missing half of whats been played. Personally,Ivebecomeashamedtoliveinaenobligedto look to such disgusting things for entertainment; where the conceptsd entertainment have become so degenerated. Our forefathers said for the crazy moliday. Today, candle in hand, Im looking for that crazy man. Are you overcomeSo, wheres it all leading to? Will we need a terrible37 ArticleaboutTurkishmusic

earthquake or a nuclear war, leaving nobody behind, in order to wake up and letryandregainourdignityandselfesteem? I realize that, aside from one or two mus, Ive said nothing encouraging to you. But like the late poet Aziz Sami Bey,hdad, a mans tongue cannot smile while his heart is crying. The word hasretoralover,butthelongingthatwesharetogetherisnot for a lover, its for ouran operation, our dear Tahral sent me a poem, Cnn Atei (The Fire of thethe longing for my country, I composed music to it. The poem said, Would thatoses, ablaze and brilliant; the fire of compassion in the sacred valley. In thelled with longing for those Moseses, who were everywhereuntiltheTanzimat(Official39)turned our people into mental vegetables. SpeechmadeonJuly1,1994aspartofasoftheRiseofSocieties, heldbytheKubbealtAcademy 38 ArticleaboutTurkishmusic

MUSICALINSTRUMENTSOFANCIENTANATOLIA (byZeynepHelvaci) TurkishCulturandidate,Musicology,JuliusMaximiliansUniversityWrzburg,Institutefor MusicResearchGelia, the home of various settled cultures since at least as early as 10. Millench variety of musical instruments in ancient times. Numerous extant musical instruell as depictions of different forms, provide us with clues abouttheancientmusicegion. The evidence shows that a wide range of string, wind and percussion insnusedinthecourseofthousandsofyearsinthisland. PercussionInstruments Severalmentsarerichlyrepresentedinarchaeologicalrecords of Anatolia. The oldest among tht scrapers made of bone and clay rattles. Seeing their relatively simple structurdern point of view, one may mistake these instruments for ordinary toys. Thoughal tools for their initial owners; tools helping them to connect with the naturend to communicatewithdeities. Starting from Bronze Age, people made use of metalce instruments. Examples of rattles made of metal dating back to 3. Millenium B.nd in central Anatolia. These instrument type, commonly known as sistrum, appearsed an important role in religious ceremonies, as suggested by the ornaments projeithsignificantsymbolicalmeanings,suchasbirdsandbulls. Another widely used instrumsion type was cymbals. Sizes of the cymbals used in Anatolia varied from so calwhich were played in pairs, a pair in each hand of the player as we know froent to the bigger ones, the so called clash or hand cymbals, still in use inestras. Cymbals, known in the region at least since early Bronze Age, have beeniven as burial gifts. Depictions suggest that finger cymbals have provided accompaances and hand cymbals were often used in ceremonies39 ArticleaboutTurkishmusic

andprocessions.Othertypesofclappers,probablymostoftenmadeofwood,werealso aparttarium. Tambourine, still employed in many different forms of music, was also ant of percussion accompaniment. Depictions of various sizes and forms, such as tamrwithoutmetaljinglesattachedtotheframeareplentiful. Equally popular were framems of various sizes. Especially the frame drum, an instrument closely associatedent goddess Cybele, is often to be found in archeological evidence. Cybelecult ive transferred to ancient Greece and Rome through Phrygians, and the frame drumay an importantroleintheritualsinthesemusicculturestoo. WindInstruments Whierial, varying from clay to bone and limestone, could be found in Anatolia sinceimes. Some of the clay whistles found in the museums of Turkey have a birdlikee are hitherto neither visual nor literary depictions found representing the usees, ritual function of similar instruments in other cultures are known from certacological studies. Moreover,theassociationofbirdswithdivineforces,acharacteristicures of the region, may suggest a deeper meaning of the bird shaped instruments.practice of classifying these as toys in museum exhibitions might also need tofpercussioninstrumentswithsimplephysicalstructures. It is still a debated issue,n ancient times should be considered as musical instruments, because of their limy of producing melodies. Some refer to them as signaling devices, considering thetory function in hunting, wars and competitions. Nonetheless, horns, played in acct of drums, took part in ritual performances as well. Playing techniques were sif modern brass instruments. To increase the volume, they were sometimes tied togeand blowntogether. Asidefromthesetworelativelysimplewindinstruments,flutesmadeofal have been played since thousands of years in the region, as remaining exampleeums in Turkey prove. It must have been one of the main melody instruments ofonly in ritual context but also during celebrations and for personal entertainmentind instruments made of cane and wood were used for similar purposes as well; hst impossible for these vulnerable materials to survive such a long time, hencenstrument is known. Because of the same reason, there are not any existing mouthed instruments, which were widely in use. But depictions of such instruments arely showing them being played in pairs, sometimes leading ceremonial procession ofSimilar instruments are still to be found in different parts of Turkey,performedithdrumsduringweddingsandotherfestivities.40 ArticleaboutTurkishmusic

So called Panflutes may also be seen in several depictions of ancient times, buhese depictions in comparison to others, suggest that they were not as broadlyusuments Hitherto, there has been no extant string instruments excavated in Turkeyenough archaeological and written evidence exhibiting the significance of them. Reloorrateofharppresentationsindepictionsfoundintheregion,suggestthat people of Ared these instruments as much as the neighboring culturesofMesopotamia. On the oerent types of lyres have been among the most essential instruments,atleastbeginlenniumBC.Numerouspresentationsof lyresdepictnotonlytheadvancedstructureoftheinhecontextsin which they were employed. It is interesting to see lyres of differing played together in certain circumstances; an evidence of a distinction betweenstrumentstypesandtheirfunctions. String instruments of lutefamily were also widelh incomparable with the prevalence of these in Ancient Egypt. Form of the lutese Hittite reliefsshowsimilaritiestomodernbalamausedinTurkishfolkmusic. As munctions and uses, so do the musical instruments. However, almost all of the survevidence and visual depictions concerning the musical instruments are that of relials, official ceremonies and festivities. Consequently, our knowledge of the ancienments and their uses are limited and hardlyincludetheirroleineverydaylifeofthee limits, based on the available evidence, it is possible to see that quite advtruments emerged notably early in history. Many of the surviving depictions showof orchestras, consisting of different types of string, percussion and wind inster hint of a rather sophisticated music culture. The studies in the area also riduality of ancient Anatolian cultures, ratherthanbeingmerelyabsorbentofneighborin. 41 ArticleaboutTurkishmusic

OTTOMANMUSICTHROUGHWESTERNEYES (byDr.BlentAksoy) Europeans, whohistory, Turkish state, legal, social, military system, culture, and customs as avestigation throughout the centuries,didnotfailtoconsiderTurkishmusiceither.Onecuropean sources on Turkish music. These sources constitute so extensive a literatue researcheronhisownmaynotbeabletoexhaustitwithinhislifetime. European sourceg in that, they throw light on the phases of Ottoman music which the historiant enlightened yet. Obviously, sorting out all the relevant material in these soure a significant contribution to the historiography of Ottoman music. The sourceslso revealtheEuropeanreceptionofOttomanmusicthroughthecenturies. Europeansourceshreecategories:writingsof(a)generalhistorians and orientalists; (b) of historiansmusicologists; and (c) of travellers and observers. Since the travelogue is a genng from live observation and experience,the products of this literature deserve stion. Historians of music and musicologists of the past centuries often worked onmaterial, and it maybethecasethattheyhadneverheardTurkishmusicplayed.However,, memoirs, and letters written by European visitors provide observations and clueskish music of the past centuries was like and how it was received by Europeans.ns showed interest only in the military music of the Turks. The earliest contactusic had started as early as the period of the Crusades, but they didnotleaveewtravelaccountswithmentionofmusicfrom the fourteenth and fifteenth centuries. At, there was a widespread prejudice in Europe at the time that Islam had prohibt the Turks ignoredallmusicalgenresexcept militarymusic.Probably, the solesignifontribution in the fourteenth century was made by Bertrandon de la Brocquire (c.veller.BertrandonwasatthecourtofMuradIIinEdirneandlistened to epic songs (Chainstrels, and "merry", "joyous" and "cheerful"Turkishfolkandpopulartunes. MorecoksontheOttomansstartedtoappearinthesixteenthcentury. The observation peculiar tarked by impressions from the mehter, the janissaryband.Folkmusicandurbanlightmerablymentioned,and42 ArticleaboutTurkishmusic

painters of the century represented the mehter and the instruments of urban lighte Belon du Mans, a French observer who was in Istanbul between 1547 1554, wrotee more talented in playing the string instruments than the people of France andm Belon, the travellers of the century did not receive favourable impressions froey heard in Istanbul. Almost all the observerscomplainedaboutthe"noisy"performancdexpressedthat Turkish music, which was in fact the music they heard on the strs and the nerves. The fact that the focus was on military music was quite natman empire was then at its peak as a military power and Europe was under itsh century. However, this military threat did not prevent Turkish music from havinon Europe. Many European countries which had hitherto dispensed with military musio develop military bands, and others felt it was necessary to improve military m, English, French, and German military unitssetupmilitarybandswhichresembledthes started to take greater interest in Turkish military music in the seventeenthentury witnessed several travellers who tried to approach Turkish music with an oitude, or even took pleasure from the performance, which was described as noisys of the previous century, was now praised and appreciated by the Italian geograrsigli, and the wellknown French orientalistAntoineGalland. In this century oneservers who listened t