Turkish Music

The Turkish music is with the image of its ethnic composition, its geographical location and its history. If the Turkish music indicates before all the music made in Turkey by Turkish, it is not summarized with this definition, because there is a Turkish diaspora, there are ethnos groups not-Turkish in Turkey, and the Turkish music was played a long time in countries other than Turkey, because of Ottoman Empire.

Othoman music

Practiced in the Ottoman Empire since the 14th century, the erudite Music Othoman, (Türk sanat müziği) is characterized by the multiplicity of its influences Turkish, Arab, gypsy, Byzantine, Armenian and Persian. She was practiced under multiple facets in the institutions of the Ottoman Empire:

The Othoman music is characterized by three great fields corresponding to varied social layers:

  • military orchestras (Mehter) and brass bands of the Janissary S (army corps of elite), inherited the Mongolian S.
  • sacred musics, including/understanding the cantilation of the Coran and the Samâ' (mystical dance) of the orders soufis (Mevlevi S and Bekhstandis)
  • the musical academy of the Court (Enderun) and of the Othoman circles of elite.
The soldiers, the monks and the aristocratres have thus each one a characteristic music in order to ensure honor and specificity of or power. A such standard, the music has as much a function of official representation that of artistic stimulant. all these energies and competitions contributed to the creation of a rich and varied music, integrating all the elements cuturels conquètes empire.

This music is founded on the Maqâm, a modal Système making it possible to the musician to explore a range given on the mode of the Taqsim (a type of improvisation), evolving/moving within a preestablished composition. There remain approximately 8000 written compositions. They mention a particular type of unfolding of the Maqâm sour form of partition Fasil:

  • introductory Taqsim
  • Peshrev (prelude rate/rhythm)
  • compositions
  • songs
  • Yürük semaî (merry air)
  • Saz semaîsi (instrumental air)
One of the characteristics of the Turkish music is the concept of an improvisation in solo of the vocal and instrumental parts whose interpretation starts with some phrased short, around one of tons fundamental, in one of the many traditional ranges. Then, the topic develops gradually around interpretations of the Maqâm by the singer.

Some of the musical instruments Othoman are taken again Arab Musique the such Oud or the qanûn. Other instruments are the ney, the Tanbur, the Kemânçe and the Saz.

Among the principal type-setters of this music, one will evoke Buhurizade Itri (1640-1711), bey Ismail Hakki (XVIIIe century), Hamparsum Limonciyan (1768-1839), Dede Efendi (1778-1846), Haci Arif Bey (1831-1885), Tatyos Efendi and more recently Adnan Saygun (1907 - 1991).

Modern music

The birth of the Turkish Modern music is initiated in the Années 1920 by Mustafa Kemal Atatürk in the context of the foundation of the Republic and its cultural stowing at the Western company. The powerful Head of State saw in the new compositions of the modern music of his country like “enracinée in the national heritage” and adapts it to new musical styles “to Western”, and charges five musicians of which Adnan Saygun which is then sent on mission cultural in Europe.

Among the type-setters Turkish representing this tendency, one can quote Adnan Saygun (1907 - 1991).

Popular music

  • the Türk halk müziği , popular music traditional which wants to be purely Anatolian.

  • the arabesk , Music of varieties of Eastern style.
  • the pop Türk , is a Musical genre specific to Turkey, near to the Dance.
  • musics of Western inspiration : like the Song, the Jazz, the Turkish Rock'n'roll, or the Rap.

Musics of the minorities

Those include/understand various elements resulting from the popular musics of the Asia Mineure, the music of the people under the Ottoman Empire, of the music of the Jewish Diaspora, the Iranian Musique, the influences of the Balkans, the heritage of the music of the Byzantine Empire, and more recently, of various musical genres of the Western music.

Kurdish music

See also: Kurdish Music

Located at the border of the worlds Persan, Turkish and Arab, separated by official borders, this very old music plays a part of guard of the Kurdish memory through the epopees transmitted to the posterity. This music is at the same time a popular music and érudite and is characterized by a melody and monodic line, with a prevalence of the Fausset and Tahrir within the framework of its vocal execution. Although it uses Maqâm S or Dastgâh S, it has also its own musical forms, in the forms of continuations, with a chromatic scale (rare in the area). The musical compositions leave a broad place to the improvisation on the lutes Tambur and couch Saz, in particular.

The Kurds hardly enjoy cultural freedom within the Turkish State which prohibits the Kurdish language in the schools, the newspapers or television; to even listen to this music is quasi illicit. The aim in view is to compare the Kurds to the Turks.

One of representing current this vocal music is Aynur (born in 1975 in the Turkish province from Tunceli), its career is a success very discussed at the time of the exit of its album Keçe Kurdan , in 2005, album temporarily censured by the Turkish authorities in 2005.

Armenian music

See also: Armenian Music

The Arménie extended formerly until on the territories Turkish. Like all the people of Turkey, those created a music with the multiple influences, based on the tradition of the asugs , of the S bards which furrowed the areas and went village in village.

Azeri music

See also: Azeri Music

The Azeris have a cultural heritage made up of elements Iranian Turkish, and Caucasian. Tradition musical Azeri goes up at the time of bards Aşık S (Arab word which means in love in Turkish), vocation which remains still nowadays. The aşık play of the Saz and sing dastans (epopees). The other musical instruments used are the târ, the Kamânche, the Balaban and the Dhôl. Their repertory is composed of şarkı (songs) and comprises also sometimes Türkü (traditional songs anonymous, in opposition to the şarkı which have an author and a type-setter). However good aşık must be also able to improvise at the same time words and music, which gives place to meetings where the artists answer themselves by commenting on a timeless topic (the love, the inconstancy of the women, the family).

The most famous compositions are considered, with the Türkü S, like an integral part of the national cultural heritage Turkish, taught in Turkey in academies of State where this tradition of the popular music remains ( Türk halk müziği ), parallel to the teaching of the erudite Turkish music or of art ( Türk sanat müziği ) and with that of the Western music.

The pop music and the Turkish jazz do not hesitate to draw from this known repertory of all. Reciprocally some aşık pack their compositions by harmonizing them or by orchestrating them, with the risk sometimes to lose the specificity of this music traditionally monodic and only accompanied with the Saz.

The gypsy music

See also: Gypsy music

The people gypsies come from the North-West of the India settled in Turkey, important and developing their own musical tradition. Their music is usually interpreted at the time of festivals or ceremonies and proposes a great instrumental virtuosity. The Maqâm allows the melody ornamentation and the improvisation in particular in the Taksim. The instrument of predilection is the Qanûn, accompanied by a Kemenche, a Oud, a Clarinette and a Derbouka.

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