The "rock and roll" in vogue in the world, the spirit "beat", which has spread from 1960 with the Beatles had directly affected the younger generations and this was followed by young Turkey music groups. This trend, which first seeps through words Turkish compositions quickly cede the West not to original compositions that summarize the elements of Western music lightweight and those of Turkish folk music and stress on creativity, musicality and artistic interpretation.
Parallel to these developments, a large market of music has created in recent years, accompanied by an explosion in sales of cassettes and CDs. Including sales of music cassettes of Turkish pop and rock, popular with the youth of the country, skyrocketing. More than a hundred million music cassettes of local and imported goods are sold every year in Turkey. In the field of music "pop" singers such as Tarkan, Baris, Manço, Sezen Aksu, Nilüfer, Sertab Erener, MFÖ, Şebnem Ferah and Teoman in jazz Kerem Görsev, Ilhan Ersahin, Nükhet Ruacan, Gürol Agirbas , Okay Temiz, among others are a great success.
Sertap Erener who represented the country on 24 May 2003, in the 48th Eurovision song contest in Riga, capital of Latvia, with his song in English under the title of "Every Way That I Can" won first prize in Turkey the first time and scored a great success internationally.
Turkish music has developed in several areas separate from one another since the Seljuk era to the present day: classical music elitist, developed in urban areas, popular music developed by the people through Anatolia centuries as a means of direct expression and religious music and the music known as "Mehta". Western polyphony will be widely adopted in Turkey, after the advent of the Republic. Pop music, jazz and rock, particularly in vogue in recent years are also popular genres.
Turkish classical music uses the tanbour (lute long handle), the ney (reed flute), the qanun (zither) and the oud (lute). The instruments include the folk-baghlama saz (lute folk), the zurna (reeds), the kaval (oblique flute) and Davulis (drum). The urban folk music is a hybrid, using instruments and styles of folk traditions, classical and western.
Showing posts with label turkish music. Show all posts
Showing posts with label turkish music. Show all posts
Wednesday, October 22, 2008
Tuesday, October 21, 2008
Music of the Ottoman Empire
This kind of music said today mostly "The Turkish Classical Music" or "The Music of Turkish Art" has enriched and developed into shapes and aesthetics in conjunction with the foundation, extension and to strengthen the Ottoman State to acquire an identity of art music.
This music has created works in many fields like religion, love, military, war, each formed its own genres, forms and ensembles. Ottoman music was influenced musical cultures of countries annexed to the Empire and exchanged items. But early 19th century when the Empire was engaged in the process of decline, there is a relaxation and softness in the music of art. While she once used patterns and rich forms, it has gradually moved away from this concept and eventually become a music entertainment. In this evolution that has lasted until today, the kind of "song" has replaced somehow all genres and was popularized in this aspect.
This music has created works in many fields like religion, love, military, war, each formed its own genres, forms and ensembles. Ottoman music was influenced musical cultures of countries annexed to the Empire and exchanged items. But early 19th century when the Empire was engaged in the process of decline, there is a relaxation and softness in the music of art. While she once used patterns and rich forms, it has gradually moved away from this concept and eventually become a music entertainment. In this evolution that has lasted until today, the kind of "song" has replaced somehow all genres and was popularized in this aspect.
Monday, October 20, 2008
Turkish Popular Music
Popular Music / local
The characteristic of Turkish folk music is that it is anonymous. Anonymity is a factor that ensures the continuity of musical tradition in that it allows the transmission of folk art from one generation to another. The official policy of music, enforcement from the advent of the Republic, popular melodies attributed to a source ideal for the "new Turkish Music" to create. Under this policy, collection trips have been organized throughout the country and the work of musical notation and archive have been intensified.
Ankara Conservatory founded in 1936, is devoted entirely to the work of popular music and at work regularly until 1952, 10,000 songs were recorded and indexed. The radio of State, which began in 1937, was another factor revitalizing popular music. The instruments "kaval", "tar", "kemençe"(rebec) , "CIFT", "mey", "zurna", "Davulis", "Tulum", whose instruments of the family of "baglama" at the front, are the main instruments that accompany the music.
The characteristic of Turkish folk music is that it is anonymous. Anonymity is a factor that ensures the continuity of musical tradition in that it allows the transmission of folk art from one generation to another. The official policy of music, enforcement from the advent of the Republic, popular melodies attributed to a source ideal for the "new Turkish Music" to create. Under this policy, collection trips have been organized throughout the country and the work of musical notation and archive have been intensified.
Ankara Conservatory founded in 1936, is devoted entirely to the work of popular music and at work regularly until 1952, 10,000 songs were recorded and indexed. The radio of State, which began in 1937, was another factor revitalizing popular music. The instruments "kaval", "tar", "kemençe"(rebec) , "CIFT", "mey", "zurna", "Davulis", "Tulum", whose instruments of the family of "baglama" at the front, are the main instruments that accompany the music.
Sunday, October 19, 2008
Turkish Traditional Music
The concept of traditional music: This is usually music created in common, perpetuated since birth whistled, sung in their region of origin and mostly anonymous.
We can divide into two music with specific accordance with the above definition, produced in our culture and become established following their traditional religious or laymen or study under the titles "Music People / local" and "Music Ottoman" . It is also possible to classify the works of these two groups have many common aspects as they are instrumental or vocal.
We can divide into two music with specific accordance with the above definition, produced in our culture and become established following their traditional religious or laymen or study under the titles "Music People / local" and "Music Ottoman" . It is also possible to classify the works of these two groups have many common aspects as they are instrumental or vocal.
Saturday, October 18, 2008
Turkish classical music
Turkish classical music began its development in the 15th century inside the Ottoman Court and continued until the 19th century. Yet the 17th century notes that ascend the oldest of this music. In this music the Turks own a multitude of patterns composed of a series of committees were created. The instruments that accompany the music are mainly Turkish "Ney (flute)," Tef "(tambourine)," Nevbe "," Kanun "," Santur "," Kudüm "(timpani)," Zil "(cymbals) , ETC.
In 1943, under the direction of Hüseyin Saadettin Arel, convinced that polyphony could be integrated into the traditional Turkish music and the instruments of Turkish music could have their place in music, will be put in place the section of Classical Turkish Music in the Municipal Conservatory of Istanbul.
With the establishment of "classical Choir" by Mesut Cemil Tel, which has held important posts in Radio Istanbul and Ankara and actions of the Music Society of Üsküdar and the Society of Oriental music, the Turkish classical music is a renewal. Mesut Cemil Tel, which will be the first to lead a chorus of masterly Music Turkish, has made a new musical modern and rigorous enforcement of the music then prey to degeneration. The composer Saadettin Kaynak, serif Içli, Selahattin Pinar and Avni Anil, interpreters like Safiye Ayla, Hamiyet
In 1943, under the direction of Hüseyin Saadettin Arel, convinced that polyphony could be integrated into the traditional Turkish music and the instruments of Turkish music could have their place in music, will be put in place the section of Classical Turkish Music in the Municipal Conservatory of Istanbul.
With the establishment of "classical Choir" by Mesut Cemil Tel, which has held important posts in Radio Istanbul and Ankara and actions of the Music Society of Üsküdar and the Society of Oriental music, the Turkish classical music is a renewal. Mesut Cemil Tel, which will be the first to lead a chorus of masterly Music Turkish, has made a new musical modern and rigorous enforcement of the music then prey to degeneration. The composer Saadettin Kaynak, serif Içli, Selahattin Pinar and Avni Anil, interpreters like Safiye Ayla, Hamiyet
Friday, October 17, 2008
Turkish Polyphonic Music
The cultural structure of Turkey has made very rich and diverse cultural experiences from history. Given its geographical position, Turkey is the center of different cultures as Eastern, Western, Middle Eastern, Mediterranean and Islamic. This wealth with a general culture is also reflected naturally in our culture of music.
The different cultural influences that Turkey faces are at the heart of his music. We can muster a general concept with four titles under the types of music training and living in the geography of Turkey:
Turkish polyphonic music
Already in the mid 19th century, Ottoman music began to be influenced by the West, and these impacts that were imposed towards the end of the century had paved the way for work to make polyphonic music Ottoman Monod. After the proclamation of the Republic in 1923, Cemal Resid (REY) who had received musical training in Europe was entered Turkey and began teaching at the Teacher training school of Music in Istanbul. Meanwhile, some gifted young people were sent by the republican regime in various European cities for further training in music.
On their return, these young people who laid the foundations of the modern Turkish music polyphonic have formed a group called "The Five Turks." Their goal was to build a new modern building polyphonic using the themes of western music which they had received training. In subsequent phases, each composer willing to give free rein to their inspirations interpreted in the way the colors and the mystery of folk melodies and tried to achieve syntheses by different methods of abstraction.
The framework called "The Five Turks" consisted of Cemal Resid REY, Ulvi Cemal Erkin, Hasan Ferit Alnar, Ahmet Adnan Saygun and Necil Kazim Akses. In the generation that followed the Five Turks were Sami Nuri KORAL, Kemal ILERICI, Ekrem Zeki A and Bülent Tarcan, the third generation was represented by Sabahattin Kalender, Nevit KODALLI, Ferit Tuzun, Ilhan USMANBAS.
The different cultural influences that Turkey faces are at the heart of his music. We can muster a general concept with four titles under the types of music training and living in the geography of Turkey:
Turkish polyphonic music
Already in the mid 19th century, Ottoman music began to be influenced by the West, and these impacts that were imposed towards the end of the century had paved the way for work to make polyphonic music Ottoman Monod. After the proclamation of the Republic in 1923, Cemal Resid (REY) who had received musical training in Europe was entered Turkey and began teaching at the Teacher training school of Music in Istanbul. Meanwhile, some gifted young people were sent by the republican regime in various European cities for further training in music.
On their return, these young people who laid the foundations of the modern Turkish music polyphonic have formed a group called "The Five Turks." Their goal was to build a new modern building polyphonic using the themes of western music which they had received training. In subsequent phases, each composer willing to give free rein to their inspirations interpreted in the way the colors and the mystery of folk melodies and tried to achieve syntheses by different methods of abstraction.
The framework called "The Five Turks" consisted of Cemal Resid REY, Ulvi Cemal Erkin, Hasan Ferit Alnar, Ahmet Adnan Saygun and Necil Kazim Akses. In the generation that followed the Five Turks were Sami Nuri KORAL, Kemal ILERICI, Ekrem Zeki A and Bülent Tarcan, the third generation was represented by Sabahattin Kalender, Nevit KODALLI, Ferit Tuzun, Ilhan USMANBAS.
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