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Evin Ilyasoglu
Bogazici University
Contents
- A Short
History Of Polyphonic Music In Turkey
- The
Spreading Of Polyphonic Music After The Declaration Of The Republic
- Further
Reading
A short history of polyphonic music in
Turkey
- Contemporary Turkish music is rooted
in traditional Turkish music, which, in turn, takes form after the
Shamanistic traditions of Central Asia as well as those of the lands
Turks travelled through on their way to Anatolia. Pre- and
post-Islam, Arabic, Iranian and the traditions of the Ottomans all
have had their say. This musical tradition is made of a peculiar
structure of modes and rhythms. It is monophonic and it deals with
the intervals less than whole tones and half tones. Traditional
Turkish music is a unification of Art Music and Folk Music. Art
Music was performed in the Court and at the religious centers. Its
lyrics are drived from Divan (Court) literature. Folk Music used the
lyrics of folk literature and that was the music of the common folk
as enjoyed by the people. The differences between the two are
minimal.
Polyphonic music, which developed in the West over many centuries,
is alien to traditional Turkish music. Polyphony finally entered
Turkey with light music such as operettas, tangos and kantos in the
Nineteenth Century; for it to become acceptable in the more serious
circles with polyphonic Turkish music works took until the first
quarter of the Twentieth.
Visiting European companies introduced polyphonic music to the
Ottoman Court with musical plays, orchestra concerts, opera- ballet
and choir performances. Francois I of France sent an orchestra to
Suleiman the Magnificent after the treaty between France and the
Ottoman Empire was signed in 1543; this orchestra gave three
performances in the Court. Selim III invited a Western opera troupe
in 1797 whose performances were met with great delight around the
Court. The first steps in polyphonic music training were taken by
Mahmud II: He abolished the Janissaries in 1826 and founded the
Asakir-i Mansurei Muhammediye (the Reformed Soldiers of Mahmud).
This new army needed something more than the habitual tunes of the
Mehteran, and the winds band of Muzika-i Humayun were formed. This
music group also functioned as court musicians. Giuseppe Donizetti
(1788-1856), brother of the famous Italian opera composer, became
its director. Donizetti Pasha (General Donizetti) added the string
instruments to this band in 1846, thus forming the core of an
orchestra from what was essentially a military court band. He
trained the musicians on the Hamparsum notes and composed new tunes
to ever increase the band’s repertoire. He ordered new instruments
form Italy and invited the teachers along with them. The band did
not limit its performances to the Court but went out into the
streets also. Thus did Donizetti’s band introduce polyphonic music
to the public.
Along with the Tanzimat (Reformation) came the French Theatre
(opened 1839) where musical plays and operas were performed. Western
artists added to the polyphonic music world. From the 1840s onwards,
Italian opera companies started visiting the NaumTheatre. This
theatre contributed in a major way to the acceptance of the Italian
operatic tradition for twenty-eight years.. Abdulmecid had a small
th
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