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Music and Music Education From Ottoman Empire to Modern Turkey

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 Edited by
William Sayers & Hasan Tahsin Sümbüllü

AGP
MUSIC AND MUSIC
EDUCATION FROM
OTTOMAN EMPIRE
TO MODERN
TURKEY

Edited By
William Sayers & Hasan Tahsin
Sümbüllü
 AGP SCIENTIFIC COMMITTEE

Prof. Dr. Giles Chemla (Imperial College London)

Prof. Dr. Gustavo Araújo Batista (University of Uberaba)
Prof. Dr. Douglas E. Angus (University of Ottawa)
Prof. Dr. Kâzım Yetiş (Istanbul Aydın University)
Prof. Dr. Larissa Clare Pochmann da Silva (Candido Mendes University)
Prof. Dr. Luisa Maria Arvide Cambra (University of Almeria)
Prof. Dr. Norbert Pap (University of Pec)
Prof. Dr. Sueli Teresinha de Abreu Bernardes (University of Uberaba)
Prof. Dr. Babak Rahimi (UC San Diego)
Prof. Dr. Sabit Oymael (Istanbul Arel University)
Prof. Dr. Nurhodja Akbulaev (Azerbaycan State University)
Prof. Dr. Richard Smiths (London Goldsmiths)
Prof. Dr. Richard Davis (Durham)
Prof. Dr. Şakir Gözütok (Van Yüzüncü Yıl)
Prof. Dr. Zeki Taştan (Van Yüzüncü Yıl)
ISBN 978-605-83281-3-6

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I
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II
Music and Music Education from Ottoman Empire to Modern Turkey

Music and music education were very significant aspects of Ottoman social and
intellectual life throughout centuries. Some sultans such as Selim III (r. 1789-1807),
Abdülaziz (r. 1861-76) or Gazi Giray Khan (d. 1607) were composers in their own
rights and even the end of the Empire produced musical giants such as Hacı Arif Bey
(d. 1885), Tanburi Cemil Bey (d. 1916) and even İsmail Dede Efendi (d. 1846). Even
though the nineteenth century modernization efforts and later on, Turkish republic
distanced people from the classical Ottoman musiki, in one form or another music
kept its central place in Modern Turkey as well.
But despite such importance, strangely enough studies on Ottoman music and
musicology in English have been very limited and modern scholars, with a few
exceptions, do not pay much attention to this central part of Turkish cultural history.
This volume has intended to give the reader an idea of the current state of
contemporary Turkish Academia on the subject of music and music education.
The editors’ corrections are limited to the expunction of typos and to changes for the
sake of consistency. Except for these superficial changes, the text is always that of the
author.

William Sayers, London

III
 “When words leave off, music begins.”
Heinrich Heine

IV
 TABLE OF CONTENTS
MUSIC

Barış Karaelma - Turkish Music from a Conceptual Stance……………………...1-6.

Onur Güneş Ayas - Observations on the Blurred Boundaries Between Classes,

Social Groups and Genres in the Musical Life of Ottoman Edirne……………….7-14.

Ahmet Feyzi - “Annuaire Oriental Commercial Guides To İstanbul” As A

Musicological Source…………………………………………………………….15-23.

Münevver Arıkan & Ayşe Azman - Arrangement Music in Turkey in 60’s as East-
West Eclecticism)………………………………………………………………..24-29.

Serra Sezgin - Love in Popular Music: Sezen Aksu Example………………….30-34.

Cengiz Şengül - Raci Alkır’s Turkish Folk Music……………………………...35-41.

Hasan Tahsin Sümbüllü - Melody Characteristics Of Today’s Minstrel (Âşık)

Music……………………………………………………………………………..42-46.

Ali Korkut Uludağ - Harmonization Studies In Turkish Music: The Samples Of

Kürdi And Hicaz Tune Lines…………………………………………………….47-53.

MUSIC EDUCATION

Koray Çelenk - Establishment Aim And Present Situation Of The Institutions Giving
Professional Music Education In Turkey………………………………………...54-64.

Barış Demirci - A Study On The Determination Of The Use Status Of Turkish Music
Works In Cello Education………………………………………………………..65-72.

Gökalp Parasız - Study Of Music Teachers’ Opinions About Individualized

Education Programs (IEP)…………...…………………………………………..73-79.

Zeki Nacakcı & Alaattin Canbay - Effect of the Use of Traditional Folk Melodies
on Student Performance Self- Efficacy in Violin and Viola Education…………80-84.

Gonca Demir - The Models Projected to be Used in the Transfer/Adaptation Process

of Turkish Folk Music Phonetic Notation System/TFMPNS to Educational/Doctrinal
Applications: KayPENTAX®: Applied Speech Science for Dysarthrias Model
5153………………………………………………………………………………85-95.

V
Turkish Music from a Conceptual Stance
Barış Karaelma
Assoc. Prof. Dr.
Gazi University Music Education Department
[email protected]

Abstract. Music art among the most important Turkish culture is called “Turkish Music”. However, this concept
is perceived in different ways by different people. Among the factors affecting such a misperception are educa-
tional level and type of perceiving people, musical preference, professional field etc. In Turkish culture history,
the art of music has been used under different names from past to date. Before Turks accepted Islam as religion,
they named music “Küğ” and with Islam it turned out to be musiki (music) and it was used until the end of Otto-
man Empire. The name “Turkish Music or Turkish Musikisi” was used for the first time by European historians,
travellers and itineraries by showing that this music type is different from European Music. When western music
entered and spread in Ottoman territory, this name was used again for the same purpose and need with the previ-
ous experience. With the foundation of Modern Turkish Republic, a new period started for music where new de-
nominations like Turkish Art Music and Turkish Folk Music began to be used. These terminologies are still used
to determine and differentiate sub-divisions in Turkish music.

Keywords: Turkish music, Turkish Art Music, Classical music, Western Music

1. Introduction preserved its situation from past to present by

undergoing some changes due to the interaction
There are general living music terminologies of various cultures. This art is called generally
in Turkey belonging to various music types and Turkish Music. Turks used different names for
accepted and known by great majority of socie- music in different periods until today’s com-
ty. In addition to this, some sociologists and mon name.
music researchers produced new names for the
music types they like. Additionally, new con- 2.1. Naming music in pre-Islamic period
cepts were produced for the new names and so
a conceptual conflict was experienced in music Music had an important place in Turkish cul-
types. New names belonging to music types are ture in that period. In Turkish culture, where
criticized by some sides of society. Before men- Dede Korkut tales come together with kopuz
tioning about these names and criticisms, it may (traditional Turkish string instrument), Şaman
be better to look at the place of music in Turk- with treatment with rhythm-dance, symbol of
ish culture and how it was named in the past. the state with tuğ and drum, it can be under-
stood how important music is.
2. Music in Turks In pre – Islamic period, melody with words
(şarkı= song) was named “ır” while instrumen-
Art of music as old as human history is an tal music was “Küğ”, which is still used for
important cultural element for most nations. melodies without words in Turkic countries like
Music is important also for Turkish nation and Kazakhstan and Kyrgyzstan.

1
 2.2. The use of the term “Musiki” in Arabic number of theoretical works increased, military
culture music, Mehter, was introduced and developed,
sultans could perform ince saz music. In Otto-
The term “musika” originating from Ancient man period, when Mehter music was played in
Greek culture is the etymologic root of music in the body of army, (Yeniçeri ocağı), and for-
many languages e.g. music in English, Musik in tresses, ince saz music in the palace (Enderun
German, Musique in France, Musiki in Arabic school) and institutionally at Mevlevi houses,
and Muzyka in Russian. many European voyagers acquisitioned these
music types, found opportunities to watch and
The role of Alexander the Great (336-323 study them, represented them on gravures and
BC) and his campaign to the east are thought to tried to play them in notes.
have been effective in the use of this name in At the time when the term music was used in
Arabic. In a 13 – year ruling period, he con- Europe and “musiki” in Ottoman, European
quered important places in Asia, Africa and musicologists, orientalists, historians and voy-
Europe and extended his territory. The locations agers used the term “Turkish Musikisi” for the
like İskenderun and Iskenderiye (Alexandria) first time in their works [1]. Because the music
were named after him. they listened in Ottoman territory was different
Especially the cities of Alexandria and Baby- from that they listened in Europe, they believed
lonia turned into important cultural centres and that they should have different names from each
the libraries in these cities had the copies of other.
Ancient Greek’s famous works. Western music appeared in Ottoman period
With the rise of Islam, such cities with im- in 19th century with military bad officially.
portant cultural and science potentials were tak- However, even in this period, European and
en over by Muslims. Muslim statesmen giving Ottoman music types were named as “musiki”.
importance to sciences financially supported to Rauf Yekta Bey, famous Turkish music theore-
scholars of the day to translate the references in tician, used the name Turkish Musikisi and
Ancient Greek to Arabic. In this respect, the wrote a work in Arabic letters Türk Musikisi
first Islamic philosopher, El-Kindi’s (796-874) Nazariyatı (Theories of Turkish Music).
music booklets is accepted to be also the first Rauf Yekta Bey’s study attracted the atten-
author whose works reached today related to tion of famous French music historian Albert
music. It is understood that the name musiki Lavignac, professor at Paris Conservatory.
was seen from the time point when translation Lavignac offered Rauf Yektâ Bey to prepare
of Greek works was completed. Turkish Music chapter in a detailed music en-
cyclopaedia project. Yektâ Bey completed his
2.3. Music terms in Turks after Islam work in 1913 and expressed Turkish music
sound system, mode, manners and instruments.
After Turks adopted Islam, scholars like Fa- Publication of the encyclopaedia was cancelled
rabi and İbni Sina produced works on medicine, due to the outbreak of the World War I. The
astronomy and music. Farabi’s Arabic work work published in 1922 in French is the first
Kitab-ı Musiki El Kebir (Great Music Book) is example of the works which described Turkish
the most important music book of the history. music theory in a European language [3].
After the adoption of Islam, Turks founded Rauf Yekta Bey was music teacher at Dar-ül
great states like Karahans, Gazneliler, Great Elhan, Ottoman State Conservatory, where
Seljuk’s and Anatolian Seljuk’s. In especially Western music was taught under the title of
Seljuk’s time military music developed. The “Musiki” and Ottoman period music with the
name “musiki” was also used in that times. name of “Turkish Musikisi”.
Hafız Abdulkadir Meragi, musician of palace
in an important Turkish state, Timur Empire, 2.5. Music as a term in the Republic Period
used the term musiki in his theoretical works.
“Musiki” or “Turkish musiki” was used ter-
2.4. The term music in Ottoman Empire peri- minologically in this period. However, a new
od debate started related to the definition and
origin of Turkish musiki in this period.
In Ottoman period (1299-1923) the term In the formation of such a definition, the
“musiki” was also used and in this period, the chapter titled “Milli Musiki’ (national music) in

2
Ziya Gökalp’s work “The Principles of Turkism” With the foundation of Istanbul and Ankara
has great influence. Such a text is important not Radios in the Republic period, a new period
only for the prohibition of Turkish music but was started when new denominations like
also for the collection of music types complete- “Turkish Art Music” and “Turkish Folk Music”
ly different from each other, which is the topic took place. Such terminologies are still used to
of another debate. determine and differentiate sub-types of Turk-
Even though not expressing directly that ish music.
Gökalp hates Ottoman music, it can be under- The definition of Turkish folk music is seen
stood from his writings. He also defines Turk- in some references but that of Turkish art music
ish music in Ottoman period as “Dümtek musik- is not seen anywhere in references. This is a
isi” and claims that its theoretical part was tak- problematic situation.
en from Byzantine by Farabi and the basic and A conflicted and contradictory terminology
real Turkish music is Anatolian folk melodies. of Turkish music was revealed by Onur Akdoğu
Gökalp states in his same book “Dar-ül El- who divided Turkish music into two categories
han (conservatory) in Istanbul is the “Dar-ül “Traditional Turkish music” and “Contempo-
Elhan of dümtek manner i.e. Byzantine music. rary Turkish music” [2]. He added a new dis-
This institution gives no importance to real cussion matter by putting these terms in litera-
Turkish music which will gain westerly charac- ture in Turkish music society.
teristics after harmonising by adjusting melo- It is another debate topic to offer and use dif-
dies from public heart to Europe music. This ferent names for music types surviving in Tur-
institution should be turned into Turkish Darül key.
Elhan.” After these words Dar-ül Elhan’s Turk- The first State Music Conservatory was
ish Music Education department was closed and founded in 1970 with the financial support of
only symbolical Turkish Music classification the government. Official name of this conserva-
council continued their works. tory, which is still in the body of İTÜ and
Ziya Gökalp is thought to be Atatürk’s mas- serves in its official name ‘Turkish Music State
termind, but he doesn’t have much knowledge Conservatory. The term musiki is still used in
in music. Many researchers claim that another its title.
author wrote the chapter related to music in his In 1980s, with the development of systematic
Principles of Turkism. However, he succeeded musicology works, news studies were conduct-
in reversing the perceptions through the defini- ed for music science and new thoughts were
tions he made, defined real Turkish music, Ot- proposed. Gültekin Oransay, the first music
toman music, to be harmonised in Western Mu- professor, who completed upgrade education in
sic sound system (12 Equal temperament) be- Germany proposed some terms in place of those
longing to other nations and folk melodies to be not Turkish in music terminology. In the place
Turkish Music. of musiki originating from Ancient Greek he
Principles of Turkism, published in the same proposed and used Küğ which was used in
year, when the Republic was founded, played Middle Asia by Turks. There are some works
important roles in the formation of the State and like “Atatürk and Küğ”, where this name was
became the architect of cultural demolition. used. However, such a proposal was not adopt-
ed much only by some of his students.
In this period, (Ottoman) Turkish music de-
veloped by the side of Itri, Dede Efendi, Hacı
Arif Bey and others was banned by the gov- 3. Conflicts in the definition of Turkish music
ernment either in education institutions or on
the radios while Western music was supported Definition conflicts are at the heart of debate.
and encouraged in the same period. It was The name used for more than 100 years seems
aimed to send students to Europe to learn West- to be a subtitle when it was given because it
ern music. These students started to work as should be named differently from Western mu-
music teachers at state conservatories and edu- sic. The name “Turkish music” was used first
cation institutions after completing their educa- officially by Rauf Yekta Bey using the expres-
tion and coming home. So, Western music sion of traditional frets, maqam and usul (ritm),
found considerably large living area by getting courses and instruments in the same study. In
supported by the government. his writing “national music”, Ziya Gökalp
claimed that music dropped from Ottoman em-

3
pire is Byzantine origin. Through such a claim, heritage of Ottoman Empire (not to offend its
he threw Yekta’s efforts to dustbin by defend- enthusiasts).
ing the view that folk music harmonised by
Western music is the original Turkish music. 3.1. Traditional Turkish Music
Government accepted Gokalp’s views and this
caused many questions in concepts and percep- The adjective “Traditional” sounds good.
tions. Music theoretician H.S. Arel in his book However, since such a quality was granted to
“Who owns Turkish Musikisi,” tried to show it Western music in Turkey to give living area to
is not Byzantine, Arabic and Persian origin but it under the title of “Turkish music”, most tradi-
not succeeded. Some authors attempted to re- tionalists didn’t accept and use this adjective.
move question marks by using some adjectives This music is a type majority of whose reperto-
before “Turkish music” but the conflict was not ry comes from Ottoman time and has unique
corrected. sound system where the instruments like ud,
Turkish music may falsely be thought that it ney, tanbur, kanun are prevalent.
is performed and produced only by Turks. When this definition began to be heard, it
However, when considered the large Turkish was criticised densely by folk music performers
geography, it is not much true an identification. and researchers since the definition was just
The mentioned thing here is only a music type like that of Turkish Art Music. Therefore, new
and there is a need for the determination of qualifiers was also added to this name.
formation process. It is true that Turkish has Classical Turkish Music: This name may be
had a certain musical background from Middle thought to have been produced as an alternative
Asia to date. However, from 10th century, refer- to Classical Western Music. However, when
ences belonging to Turkish writers reached to considered the history of Turkish music, it is
date through Farabi, but until 17th century very seen that after especially 10th century it gained
few repertoire reached to date, in 17th century, unique characteristics. Theoretical infrastruc-
large extended collation repertoires of the au- ture started by Farabi continued to be developed
thors like Ali Ufki and Kantemiroğlu give opin- by the theoreticians such as Abdulkadir Meragi,
ions related to the musical infrastructure of Safiyyuddin Urmevi. Fifteenth century is
mentioned period. Following this century, known to be the golden age of Turkish music
through either Meşk method or notation of theory, when a number of theoretical references
works saved many music examples from being were written. This period covering 100 to 150
forgotten. It can be stated in the light of this years after the foundation of Ottoman Empire
knowledge “Turkish music repertoire started represents an age when the books written in
with 17th century Ottoman period. Therefore, Turkish were devoted to Sultans after the con-
other name of Turkish music is Ottoman Mu- quering of Istanbul.
sic”. Not only those from Turkish race gave Music works with long – lasting forms like
works in this type of music but also those not Kâr, kârçe and composition for some historians
Muslim and Turk like in Ottoman like Tatyos while for the others, those involved in the Es-
Efendi, Bimen Şen, Kemençevi Vasilaki con- tablishment process of Istanbul Radio until
tributed greatly to its development. 1930s are named classical Turkish music.
It is clear that Turkish Music is not a music Works since song form and from 1930 to date
type belonging only to Turkish race. In order are so-called Turkish art music, most often art
for a composed melody to bear the identity of music.
“Turkish music”, it must be prepared in con- Some western music enthusiasts who don’t
venience with the theoretical rules, mode and want to use the word west preferred to name
manner structure. Besides, melodic structure this type International Art Music. Therefore, by
and course give the melody its Turkish music adding traditional before Turkish art music
identity. they wanted to escape from conceptual conflict.
Expansion of Western music in Ottoman em- Traditional Turkish Art Music: It is a mono-
pire from 19th century and in republic period phonic music type composed of maqams based
mixture of Western Music and Folk music (hy- on 24 sound systems with unequal intervals at
brid) caused a new type of music imposed as one octave, and completing a whole with
“Turkish music”. Some music authors added unique melodic structure and trend, manners
“traditional” as a prefix to Turkish Music the and instruments.

4
 In practice, the term “traditional” has never in nowhere in the world, Classical music is so-
been used. However, it is possible to see this called International Art Music. In Turkey, this
name at many music teaching departments since music is also named “western music” and “clas-
such departments were founded on western mu- sical music”. However, since there is another
sic basis and these lectures are just like refugees Turkish music type beginning with “classical”
and taught superficially. One can never see an it is better to name it “Classical Western Music”
announcement board of radio, TV and concert in order to better understand it.
saying “Traditional Turkish Art Music Concert”.
It is a natural and expected result not to use the 3.3. Contemporary Turkish Music
qualifier “traditional” in practice in also theory.
At professional, official and authority estab- Such a name is in the focus of debates. It was
lishments, like the Ministry of Culture, TRT squeezed between Western and Turkish music
and State Conservatoires this name is adopted and turned into a hybrid form. The most appar-
to be “Turkish Art Music”. ent characteristics of this music type is that it is
Traditional Turkish Folk Music: It is a mon- polyphonic and uses Tampere system with 12
ophonic music type composed of modes based equal intervals. The reason for this music type,
on 17 sound systems with unequal intervals, the first examples of which were given by
performed using the folk instruments like Turkish Five to have this name is that it is dif-
bağlama, kemane, kemençe (string instruments). ferent from Western music.
It is not spread over extended geographies but Turkish Five received education on Western
confined to regions. music abroad and returned home in 1930s.
They produced their first composition – ar-
3.2. Classical western music rangement examples by arranging / adjusting
folk melodies according to Western harmony
It is thought to be better to have a look at the system. These works were formed in polyphon-
names used for this type of music living in Tur- ic special harmony method due to maqamic
key. Today, this music type known in Europe structure of Turkish folk melodies. The poly-
and America only with the name “music” or phonic sound produced was very away from the
“classical music” is named after Classical original of folk melodies. Instruments used in
Western Music in Turkey. When considering Turkish folk music were not included in these
music history, since this music type was shaped orchestras. People were forced to love and lis-
in the European countries like Germany, Aus- ten this music type but they did not prefer it.
tria, Italy and France, home of this music type It is seen that in the formation and shaping of
is known to be Europe. “Contemporary Turkish Music” Z. Gökalp has
Before the discovery of the Continent Ameri- an important role. Even though the Government
ca, Europe was the farthest west of the world accepted Gökalp’s thoughts about Turkish mu-
from either geographical or cultural proint of sic policies at the beginning of modern Repub-
view. This music type is still named “Western lic period, great majority of society did not
music” in Europe, the territories where it was adopt such a music type since there is no one
born. This music type is so-called like this in all society which became successful in accepting
references (old – new) related to music history radical and instant changes in cultural products
and theory [4]. Addition of Western as qualifier in a short time. This music type mentioned
before this music type in Turkey is caused by above is still not preferred in today’s Turkey in
this fact. either entertainment places or wedding parties.
Actually, the term “classical” was added as
qualifier before a name of period (1750-1820) Conclusion
in Western music and this period was in mind
with the name of “classical period”. In also Eu- In Turkey, Turkish music lives as Ottoman
rope, in this period, music was named “Classic heritage dropped from past to present day. In
Music” due to the characteristics of the period. addition, there is another type of Turkish music
“Classic Music” as a name was used for the derived and mixed under the effect and from
first time in Oxford English Dictionary in 1836. Western music style. Artisans performing these
This music type in Turkey is named “Interna- two different Turkish music types make them
tional Art music” even though seldom and such located in different poles. One side (more con-
a name is not used by large mases. In addition, servatives) criticise violently this new type

5
which destroys traditional frets while other side seen to be the starting and an important point of
defends themselves as “I am Turk, so music I this respect.
produced and performed is called Turkish mu-
sic”.
Increasing the ownership of Turkish music References
art requires not only protection of past music
heritage but also producing new works. One [1] B. Aksoy. Geçmişin Musiki Mirasına Bakışlar,
Pan Pub. 2008
must bear in mind that applauding, heightening
[2] O. Akdoğu, Türk Müziği'nde Türler ve Biçimler,
and financially supporting the enjoyed music Aegean Uni. Pub. 1996
type will absolutely threaten and abandon those [3] R. Yekta, A. Lavignac (editor),”Turkish Music”
not supported to death. Such a condition is sure- Encyclopédie de la musique et dictionnaire du
ly a cultural demolition. Conservatoire, V.5, P:2845-3064
The larger the number of the types of the mu- [4] T. Christensen (Editor), The Cambridge History
sic the richer the culture is. People spending of Western Music Theory, Cambridge U. Press,
effort to develop these music types should con- 2002
tinue and transfer these types in a respected en- [5] Z. Gökalp, Türkçülüğün Esasları, 1923
vironment and by respecting other masters. Ac-
curate denomination of music types may be

6
Observations on the Blurred Boundaries
Between Classes, Social Groups and Genres
in the Musical Life of Ottoman Edirne
Onur Güneş Ayas
Yıldız Technical University, Sociology Department
[email protected]

Abstract. Recent studies on the musical life of Ottoman Istanbul show that the Ottoman musical tradition has
succeeded to bind people from different social backgrounds as well as different musical styles and genres together
in a unifying cultural universe. However, Ottoman Edirne has not been studied from this perspective. The purpose
of this paper is to show that the unifying character of the Ottoman musical tradition that binds different classes,
social groups, religious communities and musical genres and styles together may also be observed in Ottoman
Edirne. It is true that Edirne has served as the Ottoman capital for ninety years and remained in close contact with
the new capital and the court afterwards and this fact has definitely played a very important role in the central po-
sition of Edirne in the Ottoman musical tradition. However, if the musical life of Ottoman Edirne is properly ana-
lyzed, it can be observed that the traditional music was far from being limited to the court and its immediate en-
tourage. Social basis of Ottoman music tradition in Edirne displays a striking wideness and diversity, making the
borders between social classes, ethnic and religious minorities and musical genres considerably blurred.

Keywords: Ottoman Edirne, sociology of music, tekke music, Turkish music, folk music

1. Introduction debates. The early republican elites aimed to

form a new national identity supporting West-
ernization and the consciousness of secular
The subject of this paper is to reveal the so- Turkishness while excluding the Ottoman-
cial context of the musical life in Ottoman Islamic legacy as much as possible. The Gökal-
Edirne in terms of the blurred boundaries be- pian formula provided the legitimizing theoreti-
tween classes, social groups and musical genres. cal framework for this twofold project [9].
In order to achieve this task properly, the biased In early republican Turkey, the most essential
ideological classifications of the early republi- pillar of the official position towards music was
can period on the Ottoman musical tradition to exclude and “otherize” the Ottoman musical
should be corrected first. The classifications legacy. This official position had been inspired
established by the early republican elites have by the “national music” formula expressed by
survived until recently and left its mark on al- Gökalp in his book Türkçülüğün Esasları (The
most all of the music debates in Turkey. These principles of Turkism). As Tekelioğlu compact-
classifications were based on Gökalp’s famous ly put it, Gökalp’s formulation was defining the
formulation which is also the theoretical source problem and solution as follows: “The enemy is
of all the subsequent classifications in music Eastern music, the source is folk music, the

7
model is Western music and its harmony and This paper is loosely based on one of my
the purpose is to achieve national music” [13]. former studies which analyses the musical life
In this conjunction, republican elites claimed of Edirne from a sociological perspective in a
that the Ottoman music tradition in the cities free essay form [8]. But this revised and ex-
and the folk music in the Anatolian villages panded version adds new sources, perspectives
were completely dissimilar in terms of their and subjects to the former. The main sources of
historical origin and the musicological and cul- this paper are the biographical collections of the
tural characteristics. Accordingly, Ottoman mu- Ottoman musicians such as Şeyhülislam Esad
sical tradition was entitled with names such as Efendi’s Atrab’ül Âsâr [5] (the only biograph-
“court music”, “enderun music”, “tekke (der- ical collection of musicians written in Ottoman
vish lodge) music” etc. all of which referred to period), histories on Ottoman Edirne especially
closed groups having a little connection with the one written by Peremeci [12] and a recent
ordinary people and the social fabric of the Ot- biographical collection of musicians living in
toman societies. In Gökalp’s formula, Ottoman Edirne written by Uludere [2]. Before dealing
music was not only “backwards”, “sick”, “som- with the musical life of Edirne, we had better
niferous” and “cosmopolitan” but also a “for- outline the social context and the general char-
eign” music taken from Byzantines. Gökalp acteristics of the Ottoman musical tradition first.
argued that Ottoman music, which was “the Under the next sub-section, I will use the rele-
remnant of the obsolete Byzantine culture”, had vant material from one of my recent studies [7].
nothing to do with Turkishness. The pure and
genuine music of the Turks could only be found
among the Anatolian folk songs which had no 2. Ottoman Musical Tradition: Social
connection with this “foreign” Ottoman music Context and General Characteristics
[15].
Moreover, the hegemonic discourse defined To begin with, we should note that Ottoman-
each branch of the central musical tradition of Turkish society had no Western type aristocracy
Ottoman society as something hostile and unre- or clergy. Since the land belonged to the State
lated to each other, building insurmountable rather than being under private ownership, there
discursive walls between the so-called classical, was not a Western type land owner class either.
popular, religious and secular branches of this The main class distinction within the Ottoman
music. Recent studies on the musical life of Ot- society was between the rulers and the ruled as
toman Istanbul refuted these claims, showing a whole, and unlike Western society the ruling
that the Ottoman musical tradition succeeded to elite did not exclusively come from the ranks of
build a unifying cultural universe that binds the upper classes or aristocracy. Since there was
people from different backgrounds as well as not an aristocracy, there were not rival courts as
different musical styles and genres together. patrons of the musicians. But this does not
As a result, it has become evident that there mean that the Sultan was the only patron of the
are not strict distinctions between classes, social high music as usually happened in the Eastern
groups, genres and styles in the musical world courts. For instance, the so-called classic music
of Ottoman Istanbul. However, though it is the of Iran was limited to palace and its immediate
second capital of the empire, Ottoman Edirne entourage [3]. However, the historical records
has not been studied from this perspective. The clearly show that the Ottoman music tradition
purpose of this paper is to show that the unify- differs not only from the Western but also the
ing character of the Ottoman musical tradition other Eastern music traditions in being able to
that binds different classes, social groups, mu- maintain itself independent from the patronage
sical genres and styles together can also be ob- of the Sultan. As Behar [4] notes, there are
served in Ottoman Edirne. In order to achieve many historical evidences that prove this point:
this task, a general outline about the social con- “When two successive sultans, Osman III (r.
text of Ottoman musical tradition will be drawn 1754–7) and Mustafa III (r. 1757–74), both
first and then the musical life in Ottoman Edir- strongly disliked music and chose to disband
ne will be analyzed in terms of the relationships the Topkapı Palace meşkhane, thus ending all
between the court and the ordinary people, musical activity in the royal palace, this rash
“classical” styles and folk music, “high” music decision had no disruptive effect on the practice
forms and popular entertainment music, reli- of music in the city. Twenty years later, Selim
gious and secular music etc. III (r. 1789–1807), himself a patron of the arts

8
and a great composer, had no difficulty whatso- Mawlawi dervish as well. Before being ideal-
ever in quickly reconstituting in the palace a ized into a nostalgic aristocratic due to some
retinue of masterly musicians and composers.” nostalgic yearning for an imaginary aristocratic
Behar explains this fact by pointing to the fact musical past, he had been usually called
that the Ottoman musical tradition was “already Hamamcıoğlu İsmail or Dervish Ismail in his
sufficiently diffused and ingrained in the urban time, pointing to the humble origins of the
social tissue and resilient enough to survive” composer. It is interesting to see four workers, a
independent from the patronage of the ruling servant and even a slave in a biographical col-
groups. The organization of instruments and lection including 97 composers of the so-called
performance has been also instrumental in high music tradition of Ottomans. A similar
maintaining this independence. Ottoman music social composition of classical music compos-
was mainly a “chamber music” except the mili- ers is certainly unimaginable in the Western
tary music called Mehter. Two or three instru- context.
ments and a singer were usually enough to per- It should be noted that dervish lodges, especial-
form the most complex examples of this music ly those of Mevlevis, were also very important
and becoming a performer or even a composer in making the religious and secular repertoire of
did not require a very long musical education as the Ottoman classical music tradition accessible
in the West. For example, the music of Maw- to all classes of society. These lodges were the
lawi rite that we can consider as the equivalent civil centers of musical training and transmis-
of the most complex forms of Western music sion open to everyone except only those reject-
such as symphony or concerto required no more ing to obey the special rules of these places. It
than five or six musicians in its traditional form. is also interesting that even the non-Muslim
There was not an opera tradition either. So fi- musicians were a part of this musical world de-
nancing even the most complex musical activi- spite the compartmentalized social organization
ties was not expensive as happened in the in civic and religious affairs. In Ottoman Tur-
Western classical music world. As we have not- key, Muslims and non-Muslims performed a
ed, the palace was not the only place that Otto- common repertoire, employed common artistic
man music was performed. Ottoman music was and compositional techniques and used the
trained and performed in “private homes, same musical forms and instruments.
mosques, dervish lodges and even coffee- Another important feature of the Ottoman
houses”. So, as many researchers and experts music tradition was that the boundaries between
noted, Ottoman music was mainly an urban various genres were very flexible. In other
music performed in various places in a wide- words, high music, folk music and popular mu-
spread manner that was open to the participa- sic were not polarized through the social dis-
tion of all classes. tinction strategies but merged together in a uni-
The range of the large social basis of this mu- fying musical culture. It does not mean that a
sic can be seen from its prominent composers. folk song and the highest forms of classical Ot-
For instance, when we look into the famous toman music had the same value, but it is cer-
biographical collection of Şeyhülislam Esat tain that they were not polarized. For example,
Efendi (Atrab ül-âsâr fi tezkire-ti urefâ’ il Ali Ufki who compiled the Ottoman musical
edvâr) written in 18th century (see Behar, 2010), repertoire in two manuscript anthologies which
we clearly see that there were many musicians are still one of the two written sources about the
from humbler origins beside some high-ranking music of the period, has classified the folk
officials and dignitaries. This is apparent from songs and the complex forms of music per-
the names of the composers of the Ottoman formed in the palace in the same pages. We
music tradition recorded in this biographical know that folk songs were performed in the
collection. For example Tavukçuzade was the palace and sometimes folk singers were invited
son of a chicken seller. Taşçızade was the son to sing for the Sultan. Moreover, when we look
of a stone-cutter. Sütçüzade and Suyolcuzade into the works of the composers, we see many
were respectively sons of a milkman and a light or popular music pieces along with the so-
builder of water conduits. Even the most fa- called art music samples. For example even
mous composer Dede Efendi, who also per- court musicians like Itri and Dede Efendi have
formed in the palace and being favored by both composed popular songs along with the classi-
the two respective powerful sultans of the peri- cal suits. Tanburi Mustafa Çavuş, today greeted
od was the son of an owner of a public bath and as one of the most prominent composers of the

9
classical tradition, had in fact composed only poser Itri was not paid regularly by the court;
popular songs but he had been also honored and instead he was taking a daily wage in exchange
favored by the palace. Even the Mehter music for his teaching sessions. The other indirect
which was performed by the musicians who payments to Itri were for non-musical jobs, as
were also some kind of civil servants and di- seen in his appointment as the chamberlain of
rectly financed by the royal palace, used to play the slave trade by his own request.
for the people in the urban activities, important Kara İsmail Ağa, who is among the compos-
days and civil ceremonies open to all classes of ers who lived in Edirne, is an exception since
society. he has spent all his time in courtly missions. He
is the only musician in Atrab’ül Asar who spent
his entire career in the royal palace. However,
3. Musical Life in Ottoman Edirne: he comes from a humble social origin, an ordi-
Sociological Observations nary villager from one of the villages near Edir-
ne. Edirneli Hafız İbrahim, who has served as
3.1. The Court, Mehter and Musical Life in imam in the court between 1662 and 1686, is
Social Context among the outstanding musicians of the period
and has performed together with legendary mu-
Edirne is among the major centers of the sicians such as Hafız Post and Itri. He had
traditional Ottoman music along with İstanbul, served as the İmam of the Selimiye Mosque
İzmir and Bursa. This is, to a large extent, a before starting his courtly mission. So it can be
result of the fact that it has served as the capital said that he also had close relationship with the
of the empire for 90 years. After replaced by ordinary people in Edirne who came the
Istanbul in 1453 as the Ottoman capital, Edirne mosque five times a day for daily prayers.
continued to be one of the most favorite places Alongside the court musicians such as Kara
of Sultans. Mehmet IV (1642-1693) and Musta- İbrahim Ağa and Hafız İbrahim Efendi having
fa II (1664-1703) spent most of their time not in jobs that directly related with music, there were
the capital (İstanbul) but in Edirne. Indeed, four also musicians that served for the court in non-
out of five composers recorded in Atrab’ül Âsâr musical jobs such as Küçük Müezzin Efendi (d.
lived in the reign of Mehmet IV. There are 1707) who was a courtier.
twelve composers from Edirne in the history of Mehter is the only musical organization that
Peremeci. Five of them have served for or been was directly affiliated with the court and whose
educated in the Ottoman court. We should add members were paid regularly. Mehterhane, be-
Benli Hasan Ağa (1607-1662) and Kara İsmail sides being a military musical organization, at
Ağa (1674-1724), who are not included by the same time, answered musical demands of
Peremeci, to this list of court musicians. It is the ordinary people in the city. Mehter band
interesting that all the other musicians in this used to perform music in religious or secular
collection of biographies are members of der- festivals and carnivals, in various public places
vish lodges. The traffic between the court and and even in villages for ordinary people. So it
the other institutions in the city, which are open was very important in the musical life of the
to all classes of people, was also dense. For ex- city. Evliya Çelebi recorded that in Balkans
ample, Yahya Nazîm (1650-1727) who has Mehter bands regularly performed along the
been educated in Enderun (a royal institution of river banks and people sometimes danced and
high education) has left the Court and joined ice skated on the frosted river [1]. There are
the Mevlevi order. ethno-musicological studies on the impact of
As a matter of fact, professional musicians Mehter music on the folk music traditions of
who are directly employed by Sultan or courtly Balkan people [6].
institutions constituted a minority among the Edirne was among the important centers of
musicians. For example, only 7 out of 75 com- Mehter music. Most famous Mehter music
posers included in Atrab’ül Âsâr served directly composers such as Edirneli Zurnazen Daği
or indirectly for the court, most of whom were Ahmed Çelebi, Edirneli Mehter Ahmet Ağa
deprived of a regular job or payment. Moreover, were from Edirne as evident from their names.
one out of this seven “court musicians” were a It is interesting that these musicians composed
member of Mehter, in other words a soldier. some popular instrumental dance music for en-
The borders between amateur and professional tertainment purposes (these were called Rakkas
musicians were blurred. Even the famous com- Peşrevi) along with the classical pieces in dif-

10
ferent makams composed in the “high art” tradi- For example, we read in an announcement of
tion. For example Edirneli Zurnazen Daği Ah- Mevlevi House in Edirne, which is the second
met Çelebi and Mehter Ahmet Ağa had com- capital city of the empire and one of the most
posed some pieces in “murabba” form, which is important centers of the classical music tradi-
the most common “high art” form in Ottoman tion, that there will be music lessons in the
musical tradition along with popular pieces for lodge including the teaching of makam, usul
entertainment. and the most complex forms of Ottoman music.
It is interesting to see that these lessons were
open to all classes of society regardless of one’s
3.2. Dervishes, Sufi Orders and Religious social origin and even his religion, the only
Functionaries in Musical Life thing that was expected from the participants
was regular attendance to the lessons and not
Musicians in Sufi orders were also very im- being drunk [14].
portant in the musical life of Edirne. Most of There were other Sufi orders, mostly Halveti
the musicians recorded in different collections origin, that were important in the musical life of
of biographies are tekke musicians (dervishes) Edirne. Selami Şimşek records that among the
or religious functionaries. In this respect, Otto- musicians from dervish orders in Edirne,
man society is different from some of the east- 82.5 % is Mevlevi, 10.26 % Halveti, 2.56 Nakşi,
ern countries. Even though the empire wit- 2.56 Celveti, 2.56 Sadi [14]. Gülşeni branch of
nessed some short periods of religious narrow the Halveti order was very influential in the
mindedness on music as seen in the Kadızadeli musical life of Edirne. They had also a special
movement, religious functionaries and especial- name “Gülşeni Bülbülleri” (means “Nightin-
ly tekke musicians have always been the most gales of Gülşeni Order”) including famous mu-
important part of the musical life of the empire. sicians such as Edirneli Şaban Dede, Edirneli
Some tekkes such as Mevlevi and Halveti or- Salihzade, Edirneli İmamzade etc.
ders along with their Celveti and Gülşeni There were also transitions between the
branches were important centers of musical ac- Court and the Mevlevi order. Yahya Nazîm
tivity. Bektaşi order was also important. Çelebi (1647-1726), a composer and poet lived
Mevlevi order was rather addressing distin- in Edirne, is a good example. He was educated
guished listeners in the so-called high music in the court in his youth, then left the court and
circles. Edirne Mevlevihanesi was one of the joined the Mevlevi order. It was possible that a
most important centers of musical life in the dervish educated in a Sufi order in his youth
city. Bektaşi order was the most outstanding joined the court later on in his middle adulthood.
example of the nested classical and popular The fact that Muradiye Mevlevihanesi in
taste in the dervish milieu. The studies on Edirne was built by and named after Sultan Mu-
Bektaşi music in Rumelia show that Bektaşi rad II is a good example of this close relation-
hymns, named nefes, display both classical and ship between Mevlevi order and the Court. The
folk musical elements. Even in the villages the- most famous composer from Muradiye
se pieces of music include elements from the Mevlevihanesi is Köçek Mustafa Dede (d.
classical music system based on makams. In 1684) whose masterpiece named Beyati
Edirne, unorthodox dervish figures such as Mevlevi Ayini is one of the most distinguished
Seyyit Ali Sultan (Kızıl Deli), Postlu Baba, pieces of the classical repertoire. It is important
Koçu Baba, Deniz Ali Baba have played an im- to note that Köçek Mustafa Dede also com-
portant role in the emergence of a unifying mu- posed secular classical pieces. For example in
sical culture that puts the Anatolian and Balkan Atrab’ül Asar, Şeyhülislam Esad Efendi has
impacts together [10]. recorded only his secular compositions. As a
Mevlevi houses as centers of “high art” mu- matter of fact, it should be noted that there was
sic in the empire were also bridging between not a strict distinction between religious and
the Court and ordinary people. Since tekkes are secular music in Ottoman culture. For this rea-
open to all classes of people, Mevlevi houses son, it has been claimed that drawing a distinc-
supported by Sultans, were presenting a high tion between secular and religious music is not
musical taste to ordinary people while recruit- a proper classification for Ottoman musical tra-
ing talented people from lower classes into this dition. For example, in Edirne, all the musicians
distinguished cultural tradition. from sufi orders and religious institutions have
composed so-called secular pieces along with

11
religious music. Murabba, as the most common and performed Ottoman music there together
form used in secular fasıl repertoire, has been with Muslim dervishes. Another striking exam-
used by all the musicians in the field. Not only ple is that the student circle of Şeyh Kemalzade
dervishes such as Köçek Mustafa Dede and Ali Efendi (1839-1889) involved Jewish musi-
Kudümzen Derviş Ali or the spiritual leaders of cians such as Büyük Hayim and Hanende Sa-
sufi orders such as Şeyh Kemalzâde Ali Efendi lomon along with Mevlidhan Müftü Hafız Mus-
but also religious functionaries such as Edirneli tafa Efendi, İmaretli Deli İmam and Hafız Arif
Hafız İbrahim (the imam of Selimiye Mosque) Efendi, all of them devout Muslims having reli-
composed secular pieces in classical tradition. gious jobs and titles. In other words, it can be
This fact shows that Ottoman makam music confidently said that the musical activities in
tradition has served as a unifying cultural sys- Ottoman Edirne have had a unifying role be-
tem that links secular and religious branches of tween different religious communities.
music together. This unifying cultural system
involves non-Muslim musicians too. 3.4. Humble Social Backgrounds of Musicians

It had been noted above that the wide partici-

3.3. Non-Muslim Musicians pation of people from all social classes and dif-
ferent ethnic and religious origins seems to
Musicians from religious and ethnic minori- have been the rule in the Ottoman musical tradi-
ties were a part and parcel of the Ottoman mu- tion. In Atrab’ül Asar, from potters and stone
sical milieu. It can be confidently argued that masters to the governors of important cities,
in Ottoman Empire Muslim and non-Muslim from senior religious scholars to imams of small
people had a common musical taste based on neighborhoods and even two slaves, there are
the central Ottoman makam system. Despite the musicians from all walks of life.
fact that Ottoman society was compartmental- Edirne is not an exception. Edirneli Şeyh
ized along different religious communities, mu- Kemalzade Ali Efendi, who composed sophisti-
sic was a meeting point that easily gets beyond cated classical pieces of music in art music
the borders. When we look at the non-Muslim forms, was a tanner (debbağ) and called
composers in Edirne, we see that they all com- “tabak”. There are still certain popular idioms
posed musical pieces in classical Ottoman tradi- and slangs about “tabakhane” in modern Turk-
tion, used Ottoman makam and usul patters, had ish. The composer Sâgâri who lived in 16th cen-
their education and performed together with tury was also known as Gazzaz or Kazzaz Ali.
Muslim musicians. In the collection of biog- That means that he was a silkman. The father of
raphies compiled by Uludere [2], there are non- the famous court musician Benli Hasan Ağa (b.
Muslim (Jew) musicians such as Avtaliyon Ben 1607) was a halva (a kind of Turkish dessert)
Mordehay, Yehuda Ben Israel Ben Aroya, seller. Benli Hasan Ağa was himself an ordi-
Aharon Hamon, Behor Josef Dannon living in nary singer who sings simple folk songs ac-
Edirne, who composed pieces in various genres companied by his tanbura (a folk music instru-
of Ottoman makam music such as beste, şarkı, ment used by villagers). Another famous court
semai and peşrev in various makams including musician, Kara İsmail Ağa, was an ordinary
Uşşak, Segah, Acemaşiran, Isfahan and villager from Hasköy, a village near Edirne be-
Hüseyni. It is interesting that a collection of fore being employed by the Ottoman Court.
songs in makam Hüseyni published by the fa-
mous Jewish singer İzak Algazi in 1925 in- 3.5. Interaction between Art and Folk Music
cludes a piece composed by Avtaliyon Ben
Mordehay (1570-?). Another indicator of the blurred boundaries
There were many religious functionaries and between social classes and musical genres in
rabbis among these Jewish composers. But they Ottoman music can be observed in the relation-
had close relationships with Muslim musicians ship between art music and folk music branches
including imams and dervishes. They per- of the main tradition. As we mentioned in the
formed music in common places and learned introduction, official view in the early republi-
from each other. For example, Avtaliyon Ben can period, which was based on the Gökalpian
Mordehay had close relationships with the der- formula, had assumed that there was a strict
vishes in Edirne Mevlevi House. He had taken contrast between the art and folk music tradi-
his musical training in Edirne Mevlevi House tions in Ottoman Turkey. According to this as-

12
sumption, Ottoman makam music was the mu- the empire. Musicological studies on Rumeli
sic of the court, upper classes or the closed reli- folk songs have demonstrated that there are
gious circles unrelated with popular and folk striking resemblances between the melodic and
music traditions, while the folk music was the stylistic patterns of the classical pieces and
genuine music of the Turkish people. However Rumeli folk songs which are still sung in the
recent researches refuted this assumption. villages among common people.
The musical life in Edirne is a perfect exam- The entertainment music of Edirne usually
ple of the close relationship between art and performed by the Roman musicians in taverns
folk music traditions in Ottoman Empire. Even also reflects this pattern. The musicological
the court musicians are related to folk music studies show that both the folk music in the
tradition in one way or another. For example, countryside and the entertainment music in the
the famous composer and court musician Benli city centre include melodic patterns taken from
Hasan Ağa was playing tanbura, an instrument Ottoman art music, using its makams such as
played by common people living in villages Hüseyni, Uşşak, Rast, Karcığar and Hicaz [10].
according to Evliya Çelebi, and singing folk
songs before being accepted to his courtly mis-
sion. He continued to sing Rumeli folk songs 4. Conclusion
for the Sultan while composing musical pieces
in classical style such as Rast Peşrevi and Saz In conclusion, it can be said that Edirne is
Semai and Pençgah Peşrevi. Sâgâri who com- among the major cities in which the Ottoman
posed classical pieces in the late 16th century musical tradition shaped. The three fundamental
like Benli Han Ağa was also playing kopuz, formal institution of this tradition (Enderun,
again a folk music instrument. Ubeydi who Mehterhane and Mevlevihane) were active and
lived one generation after Sâgâri had com- influential in Edirne which was also very close
posed folk songs along with musical pieces in to Istanbul and one of the most favorite places
classical style and forms such as murabba and of Sultans. Edirne has serves as the Ottoman
nakış. Zurnazen Daği Ahmet Çelebi was the capital for ninety years and remained in close
composer of the famous Rakkaş Peşrevi, a kind contact with the court afterwards. This fact has
of dance music for entertainment purposes definitely played a very important role in the
well-loved by common people. It is interesting central position of Edirne in the Ottoman musi-
that Şeyh Kemalzâde Ali Efendi played bağla- cal tradition. However, if the musical life of
ma (the most common folk music instrument in Ottoman Edirne is properly analyzed, it can be
Turkey) along with tanbur and ney, which are observed that makam music was far from being
the representative instruments of the classical limited to the court and its immediate entourage.
musical tradition. Another example is Edirneli Social basis of Ottoman makam music tradition
Kadri Dağdeviren (1868-?) who took ney les- in Edirne displays a striking wideness and di-
sons from Neyzenbaşı Hilmi Dede in Yenikapı versity, making the borders between social clas-
Mevlevihanesi and composed a murabba beste ses, ethnic and religious minority groups and
in makam Suzinak, at the same time playing musical genres considerably blurred. These
folk music instruments such as cura, a twelve- flexible boundaries show that Ottoman musical
stringed Bektaşi sazı and accordion. tradition has succeeded to build a unifying cul-
Hafız Rakım Ertür (1883-1961) who had tural system that binds people from all walks of
played ney in Edirne Muradiye Mevlevihanesi life together.
in the last years of Ottoman Empire, has col-
lected and notated Rumeli folk songs such as
“Atımın Yelesi”, “Toraman”, “Şıpka”, “Bakkal-
lar Satıyor Karaca Üzüm”. As a matter of fact, References
Rumeli folk songs as a genre, is perhaps the
[1] A. Altundağ, Evliya Çelebi Seyahatnamesi’nde
most striking example of the close relationship
Türk Musikisi ile Alakalı Bilgiler, Marmara Ün-
between art and folk music. For example, the iversitesi Faculty of Theology, Unpublished mas-
Classical State Chorus (Devlet Korosu or Klasik ter thesis, İstanbul, 2005.
Koro) which is affiliated directly to the Turkish [2] A. Ö. Uludere, Edirneli Bestekarlar, Ceren Pub-
Presidency and very conservative and elitist in lishing, Edirne, 2015.
its repertoire, includes Rumeli folk songs in its [3] B. Nettl, Persian Classical Music in Tahran Pro-
concerts full of sophisticated classical music of cess of Change, in Eight Urban Musical Cul-

13
 tures: Tradition and Change, ed. B. Nettl, Lon- İçin, ed. Y. Okay, Doğu Kitabevi, İstanbul,
don, 1978. 2013.
[4] C. Behar, Ottoman Musical Tradition, in Cam- [9] G. Ayas, Turkish History Thesis as a Legitimiz-
bridge History of Modern Turkey Vol III, S. ing Instrument in Music Debates of Early Repub-
Faroqi, ed., Cambridge University Press, Cam- lican Turkey, Rast Musicology IV/1 (2016),
bridge, 2006, pp. 393-407. 1057-1075.
[5] C. Behar, Şeyhülislam’ın Müziği: 18. Yüzyılda [10] M. Duygulu, Edirne’de Müzik, in Edirne:
Osmanlı-Türk Mûsikisi ve Şeyhülislam Esad Serhattaki Payitaht, ed. Emin Nedret İşli-Sabri
Efendi’nin Atrab’ül Asar’ı, Yapı Kredi Publish- Koz, Yapı Kredi Publishing, İstanbul, 1998.
ing, İstanbul, 2010. [11] N. Özalp, Türk Musikisi Tarihi I, Milli
[6] D. A. Buchanan, Balkan Popular Culture and Eğitim Basımevi, İstanbul, 2000.
Ottoman Ecumene: Music, Image and Regional [12] O. N. Peremeci, Edirne Tarihi, Bellek
Political Discourse, Scarecrow Press, United Yayınları, Edirne, 2011.
Kingdom, 2007. [13] O. Tekelioğlu, The Rise of a Spontaneous
[7] G. Ayas, A Comparison Between the Socio- Synthesis: The Historical Background of Turkish
Historical Background of the Musical Classifica- Popular Music, Middle Eastern Studies XXXII/2
tions and The Hierarchies of Taste in the West (19986), 194–215.
and Turkey with Special Reference to Popular [14] S. Şimşek, Osmanlı’nın İkinci Başkenti
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ikisi Hakkında Sosyolojik Gözlemler, in Edirne

14
“Annuaire Oriental Commercial Guides to
İstanbul” as a musicological source
Ahmet FEYZİ*
*
Atatürk University Kazım Karabekir Education Faculty Department of Fine Arts Education Music Education
Division
[email protected]

Abstract. Reference to several literature and verbal source is an obligatory in writing the history of Turkish
music to enlighten the written historical process and the musical structure in it. Among these references used the
most often are edvar (book about music theory), risale (small handbook on music theory), lyrics journal and
similar written source types. Such source types related to music art shelters huge amount of valuable data in it.
Such sources types are at the first degree reference source status from musicological point of view.
Some other written reference types even if seeming to be out of music literature, may have data which are not
found even in the related documents when their contents are analysed. Among such important sources is the
Annuaire Oriental Commercial Guides to İstanbul (AOCGİ). These annual records bear the characteristics of
commercial catalogue and were first prepared for 1868-1869 term and then continued until 1950 in 50 issues.
AOCGİ are important sources since they have important reference characteristics and information about
music teachers. These annals record information about people giving music education services beginning from
Tanzimat period and continuing until the first years of Republic period. When looked from this perspective, it is
vitally important for musicology to analyse carefully these annals in especially literature related to music art in
near history.

Keywords: Musicology, musicological sources, Turkish annual commercial records, Tanzimat era, music
teaching

1. Introduction
In historical musicology studies, one of the As it takes place in scientific methodology, in
most important issues is the type of reference order for a material to be a reference (1) it
cited and its accurateness. Such written or should have occurred in its period or (2) it
verbal reference types may determine the should have happened in the nearest time to its
reliability of the study to be prepared and affect period or been composed of the sources nearest
the usability of concrete knowledge obtained as to its time. First one is the main (real) source
the results of reviews. Therefore, criticizing the while the second is by- hand source” [24]. Such
references used in a study is a required action references may also be divided in two
[24]. In addition, one-way review studies categories by considering their relationship with
conducted based on only one study can music as an art. When considered the content of
accompany with some problems. Such review musicology science and the social institutions
studies by considering only one study are music art is dependent on, it can be seen that
generally confined to information taken from the huge number of references can be obtained
the mentioned source. Accuracy and reliability as sources. Many of the social institutions this
of the source can be affected by the approach of art branch is dependent on like education,
the author whose characteristics may shape the religion, trade, health and others can shelter
work. In this respect, scientific quality of such huge amount of information in their body.
musicological studies is closely related to the
number of references analysed throughout the Hand written edvar, risale, note corpus,
study and its processing style. lyrics, song and kanto journals can be counted
first among the references directly related to
Even if it seems not to be a good choice to Turkish music culture. The most important of
classify the references related to musicology it them being related directly to music art are
is possible to see some types of categorisation. circles and booklet. These works are the first

15
referenced sources in the studies related to checked from other sources in order to avoid
conceptual structure involving conceptual from false and mistakes. These document are
information related to music art. not accepted to be a representative sample of
repertory of the period they are reviewed and
since they do not contain notes, they cannot
provide a practical and meaningful sight into
their times [5], however, by evaluating carefully
the works published on the examination
manners of these works [23], these journals can
be analysed to obtain healthier and concrete
information. Apart from lyrics journals, chant,
song and kanto journals can often be seen in
Turkish music history. Such journal beginning
to be seen after 19th century have a very close
similarity with lyrics journal.
Figure 1. Sample page of an “Edvar”;
Tefhimü’l-Makamat Fi Tevlidi’n-Nagamat/
Kemani Hızır Ağa [12]
Musicology is associated with some
mathematic and cosmologic elements in
addition, pitch systems used in Turkish musical
culture and their mathematical and theoretical
bases are among the information types
encountered most often. Furthermore, in
addition to detailed information related to
rhythm and maqams used in Turkish music,
changes these dynamics experienced in
historical process can be detected in these
sources. Great majority of such works whose Figure 2. An example of lyrics Journal (Haşim
number is not so much have been taken under Bey-1864) [11]
examination and their content analyses have
been completed. Hand written note corpus involve work
notation apart from lyrics journals and are as
Lyrics journals beginning to be seen in important as them and important works
Turkish musical culture following the tradition sheltering information about their periods on
of writing edvar and risale are among the most either note writing system or repertory. Even
important sources of other musicological though the number of such type of works is not
studies. The number of such sources today is so much as musicological references, it is
nearly 500, whose writing tradition began in possible to access note corpus examples written
Selçuk period [8] and the oldest sample was using all notation system used in Traditional
written in 15th century in the period of Murad II Turkish music from the archives. The first
[23]. These sources form a musical literature examples of such note corpus began to be seen
with written song words [21] and majority of with Urmiyeli Safiyuddîn. This work is
these sources are in old Turkish alphabet even followed by the work entitled Kenzül-Elhan,
in Karamanlıca1. Even if the lyrics journals are written by Abdülkadir Merâgi, has not yet been
used in Turkish musicology studies most often, found its content has not been clarified through
such sources should be approached with care the analyses. It is stated to include several
and their contents should be evaluated and music works written in “ebced” notes [25].
These sources began to be seen more clearly

1
It is a writing language used by Rum Orthodox groups
through the note corpus in 17th century by Ali
living in Anatolia. In the language old Greek alphabet is Ufki and Kantemiroğlu and sustained its
used to write Turkish words. There are several güfte presence in 19th century through the sources
mecmuası with traditional Turkish music content and note
reviews written in this writing language and formed in
Byzantine notation system [5].

16
developed in different notation systems2. With taken here. For instance, the work of Aksoy
the use of western graphic notation system which takes the writings of travellers coming
beginning from the last quarter of 19th century from Europe to Ottoman Empire also evaluates
in Turkish music culture the number of note musicological knowledge in these travel books
corpus increased and writing tradition of such [3]. Another example is the study of
works has reached to date. Uzunçarşılı, where author examined Ehl-i Hiref
notebooks in their times by detecting the parts
In addition to the aforementioned sources, belonging to musicians and determined the list
there are also several source types used in of music occupants in the period when the
musicology studies. Such sources can be books were prepared [26]. The study of
accepted to be secondary sources at first sight Kalender is likely to be another study related to
but they are inevitable to reach correct and the period benefiting from periodic publishes of
accurate information. Even though they are not the time. Author tried to put forward the
directly related to music art, these works are of changes in musical life in late 19th century and
the characteristics that can approve or support early 20th century in Ottoman Empire period in
the information present in the primary sources the study [16]. One of the most important such
in connection with music art and in many times studies, was conducted by İnalcık, where a
they can shelter information related to music art number of source types given above were
even if their content is mostly related to other evaluated beginning from 13th century and
fields than music art. “Among the most based on the results important amount of clues
important of them are the document like travel about entertainment culture in Ottoman period
books, embassy notes, memorials and dairies, were obtained [14]. Even though this work is
anthologies, nasihatnâme (book about the ethics not dealt with directly music art, it is very
and rules of behaviour), işretnâme (book about important reference about music culture at the
describing the fun parliament), sâkinâme (book time.
about describing the drinks and booze),
surname (book about describing the wedding Commercial annuals are among the sources
and entertainment), siyasetnâme (book used not often in musicology studies. Such
explaining how managers should behave), inventories are generally related to economic
vekayinâme (books written about the day's and commercial activities and published yearly.
events), tezkire (books on people biography), Such yearly books include economic and
cönk (vertical and small pocket notebook), commercial activities between certain dates and
harc-ı hassa books (private spending book), were often reference books. Economic activities
salary records books, tâyinat and icmal books and professional and business structure based
(books about payments other than salaries and on these activities can give clues about the
inspection), document monitoring books, in’am changing social structure in a country or a city
books (donation books) and periodicals like like İstanbul [4]. Changes, deviations or losses
newspapers and magazines” [24]. Even though in commercial sectors can archive the changes
nearly all these sources are used in different in consumption habits in a society. Commercial
research by different authors they can shelter annals bearing vitally important records of
important and diversified musicological about economic and commercial activities and
information. Giving examples for each of these evaluated in the present study can enable to
source types is not possible in the scope of the monitor large scale institutional, social, sectoral
present study so the most known examples are and occupational changes in Tanzimat era
significant passage period to western culture in
Turkish history. Such economic and
2
In Turkish music culture, emerging of note review commercial changes can determine changing
volumes dates back to 17th century. Among them
especially contemporary Ali Ufki’s Mecmua-i Saz-ı Söz
consumption habits in society during the period.
and known as Kantemiroğlu Edvarı Kitab-ı İlmi'l-Mûsikî
âlâ Vechi'l-Hurûfât are the largest volume works. Even
Such annual records began to be prepared
though in 18th century such volume note review was not and published with 1868-1869 term in Ottoman
seen much, in 19th century Hamparsum Limonciyan period and called in Turkish “Şark Ticaret
invented Hamparsum notation and it was used densely so Yıllıkları”, “L’Indıcateur Ottoman annuaıre –
many note books written in this system can be seen in that almanach commerce” in French, Annuaire
age. In the same century, Byzantine notation developed by
Hrisantos was used to publish many Turkish music works Oriental Commercial Guides to İstanbul
as note review [9], [5], [22], [17]. (AOCGİ) in English. These sources are used

17
mostly by economic and commercial historians Records) in Turkish name. Its publication
and show generally economic and commercial language is French and Ottoman but the
activities and people and institutions working in publishers are generally English.
these fields in Ottoman Empire. They are
prepared as a catalogue to promote the AOCGİ begin generally with a Turkish
potentials of Ottoman Empire to foreign capital. foreword written in French, Romaic, Ottoman
Ads given in the annual records are subjected to or Armenian letters were composed of 5
a sectoral categorisation and businesses or chapters in first years. The first chapter
people are presented to reader in alphabetical included the data related to Sultan and Ottoman
order. In the space belonging to every person family, consulates and embassies, ministries
commercial field and addresses are given with and protocols, mail and telegraph
the name. The first accessible issue of AOCGİ establishment, praying areas of different
dates back to 1868-1869 term while the latest religions and sects, customs tariffs, railways
belongs to 1948 being designed for 46 distinct and railway tariffs while the second part
years. includes a part called Istanbul Addresses giving
places to important commercial centres and
bankers, tradesmen, masters, artisans and etc.
working there with their address and
occupational field in alphabetic order. In the 3rd
part, occupational groups in Istanbul and
members are given in alphabetic order with
their occupational field and work addresses. In
4th part, the name of hans (hotels) and quests in
Galata and Eminönü were given together with
the dwellers of a street towards Beyoğlu and in
5th part people occupying with commerce and
arts in other cities of Ottoman Empire were
given with their addresses. The last pages were
left for the promotion of foreign or domestic
firms. In many of AOCGİ, there were plans
showing Galata and Pera sides [27].
Ottoman Bank published the copy of 46
annual reports for its collection and researchers
and people can use them.
Such a source is important for both
Figure 3. Cover page of 1881 AOCGİ [b] economic and commercial history and also the
changes experienced in a period from Tanzimat
The first accessible issue of AOCGİ was to modern republic. AOCGİ present the social
published with a French name Indicateur and institutional changes in a period of Turkish
Constantinopolitain by Raphaël César Cervati history and clues about the development and
and N. C. Sargologo. They were first prepared changes in music art.
only for Istanbul but after 1880s they began to
be prepared periodically. In some issues of In addition to other occupational fields,
TACR, nearly all important commercial centres AOCGİ include an advertisement part directly
of Ottoman Empire were included in them from for music teachers. Due to such an aspect, they
Cairo to İskenderun, Thessaloniki to Monastir are important sources for musicological studies.
by giving their collected data, counts, the This part included by nearly all issues of
number and names of businesses and tradesmen AOCGİ is important to show the reflection of
and advertisements (ads) [4]. These records social changes starting in Tanzimat period in
were named until 1883 Indicateur Ottoman music art.
Illustré, between 1883 and 1887-1888 terms
Indicateur Oriental, 1891 and 1930 Annuaire
Oriental and after 1931 Şark Ticaret
Yıllıkları (Eastern Commercial Annual

18
 reformism continuing until republic period
turned into revolution at last [20].
In Tanzimat period in which music culture
also underwent changes, the most important
change was experienced in institutional aspect.
“As in the developing period of Ottoman state,
the first and largest interaction, touch and
exchange with the west were seen in military
field in also Tanzimat period” [7]. Together
with the changes in other military structures,
Mehterhane was also closed and replaced with
Muzika-i Humâyun on 17 Sept 1828, Italian
chief Gaetano Donizetti were invited to Istanbul
and this military musical institution was
opened. This event is not only a reform in
Figure 4. Advertisement of music teachers in military area but a great change in Turkish
1868-1869 AOCGİ [a] music culture [10] to stimulate others. With the
establishment of Muzika-i Hümayûn, classical
Table of this figure is given in Annex 1. western music came closer to civil society
which was previously private preference of
The Period between the first and last issue
official administrators, scholars or other
of AOCGİ (1868 and 1948; Tanzimat and
bureaucrats. Such an expansion caused also the
Republic) is considerably important and
changes in traditional music culture. Elements
interesting for both Turkish history and
constituting the infrastructure of traditional
Traditional Turkish Music since fundamental
Turkish Music (forms, types, note writing
changes were experienced in every side of
systems, education and teaching types etc.)
institutional structure of the State and music
faced partial changes as the result of interaction
which may have inspired something to the
with this newly introduced music culture [2].
following policies as the preparatory stage of
One of the inner dynamics where such changes
republic period [1]. However, the changes in
were observed is music teaching or tutorial,
Turkish social structure in 19th century should
which was seen as an amateur occupation until
also be analysed in order to understand the
Tanzimat period. In traditional music teaching
changes in music culture in AOCGİ period.
practice, music occupants out of those
Tanzimat period beginning traces of which accredited to the palace, led their life in a
are accepted to be in 18th century is expressed patrimonial system. In this system, a
by several historians as “Occidentalism” or performance evaluation and pricing practice
“Reforming”. This period is actually a semi – which dates back to settlement of Turks in
Islamic and semi–Occidental period i.e. Anatolia and is mixed with Classical Iranian
dilemma [20] in other words it is a dualist tradition was applied. In this practice, artisan or
period. This dualist structure be seen with musician produces a work and forefront people
period that called Tanzimat in Turkish history for example those from the palace or
was first seen with impact in bureaucracy [13]. bureaucracy give gifts, presents, coins or other
In early 19th century, Ottoman society lived in commercial materials (atiyye ina’am) to lead
its traditional lifestyle with institutional their lives [15]. Today, if music is a
structure forming for a long period and became professional field and a sector providing regular
open to effects coming from west and new life income to its occupants in Turkey it owns much
styles resulting from these effects were allowed to such events experienced in mid – 19th
together with traditional structure. Old and century.
outdated institutional structures began to leave
With Tanzimat period, music teaching began
their places the requirements of modern world.
to undergo changes in the way to become a
Such reforms beginning with Tanzimat period
profession. Partial change in the form of
[18] moved social and cultural changes and
earnings of the person qualified as teacher
added new and different consumption habits to
educators in this system that there is not
traditional ones. This dualist life style and
conflict of interest and material basis of a union

19
craftsmen producing goods or services in the possible to reach historical knowledge by
sense that everyone knows began to be seen in considering their contents. When knowledge
this period [6]. Educator duty without any obtained from these annals is combined with
financial expectation in Mesk system, has now those from other musicological sources
started to become a profession with innovation following results may be accessed.
brought innovations in art of Tanzimat period
and the music teacher made a commercial a. Advertisements under the headline of
activity moved to the Ottoman Empire from “Professeurs de Musique” show that in the
Europe. With private lessons began to be given period when the ad was announced majorly
by foreign music educators in Istanbul music, foreign music tutors tended to give lessons for a
educator living was becomed a profession certain price and list of such people can be
provided in society. This transformation also reached in the annals. Such knowledge reveals
changed consumption habits in music culture that in the period between Tanzimat and
and lead to the establishment of professional republic in Turkish music history a change and
music education institutions out of military evolution were experienced towards music
organisation founded at the beginning of 20th profession. Until this period, music education
century. AOCGİ are one of the best sources to had not been an income requiring activity and
provide opportunity to monitor the changes in been performed in a performance (meşk)
both social and artistic life of Turkey including system and from this time such a system began
music. to change and an economic expectation
appeared for the effort, which then turned
In this study; AOCGİ an important source musical education into a professional
for economic and commercial history has been occupation. In addition, the beginning point of
under scrutiny from the musicological terms this evolution is the ads given by foreign tutors.
and musicological information obtained from Such a situation may show the effect of official
these sources were determined. For this aim, music policy in Tanzimat period reflecting in
related literature was reviewed and totally 46 civil musical life.
issues of AOCGİ were accessed. Among the
issues, that belonging to 1868-1869 period was b. One of the most important properties of
taken to be sample. Based on this sample, AOCGİ is that it gives nearly all the foreign
knowledge determined to be about music art music tariners and performers in the Ottoman
was analysed in terms of musicology. Empire period. Even though the annuals cannot
give the complete list of all music professionals
2. Findings of that day (Tanzimat and republic), it is
possible to determine majority of musicians in
The important point of AOCGİ for that period by combing all the names taking
musicology and music history is the place in the annuals and completing a list
advertisements for music tutorials. There is involving actively working foreign musicians in
always a part in the annals from the first issue Turkish music. If names in the printed copies
for music tutorials. This situation shows and each year of this annuals is detected and made a
archives an important change in Turkish music public lists, It is possible to obtain detailed
history. Until the years when the first annals resource that including assets of the foreign
were published, in Turkish music culture, musicians Turkish music culture.
professional music education was not shown to
be a commercial activity or there is no c. Advertisements takin place in AOCGİ not
document to shoe this. Until Tanzimat period, only include the names of tutors but also their
music teaching was not an income bringing lessons and addresses. Special field knowledge
activity and in great majority only gifts could seems to change for years, but when this
be given to tutors, with these documents music knowledge is evaluated over a 5- or 10 - year
education is shown to have turned out and been period, changes in demanded instrument types
accepted to be a commercial activity in social and preference can be followed. Such
area and it is shown that as a sector composed knowledge can define society’s preference
of music teaching and professional music change. In addition, by looking into origin of
occupation began at this age. When annals are instruments, density of the effect of western
evaluated from this point of view, it seems music can be determined over the years in

20
Turkish music culture. Furthermore, teachers show a very interesting differentiation
information related to address in the ads can period.
give opinions about the areas where music
tutors prefer densely or musical activities take 3. Results
place, which parts or sides of the city harbour
active music performances. In addition, for Studies on music history and culture with
biographical perspective such advertisements the descriptive characteristics from structural
are valuable documents. point of view require, due to their content, the
use of several source types. Increase in the type
d. The number of music tutors increases every and number of sources evaluated in such
year and the diversity of instruments in ads researches can cause information to be more
seems to increase. In addition to this data, some reliable and concrete. In addition, the analysis
music teachers also put their career and of primary sources “nearest to their times”
institutional title and the school where they got affects directly the reliability level of the
their diploma interestingly. researches. Some source types not directly
related to music can help double check the
Increasing number of music teacher may be findings in more related sources. Such sources
important to show that in Turkish Music are of great importance due to these
culture, teaching music began to be accepted as characteristics. More often, knowledge
a professional occupation conducted in return withdrawn from such secondary type sources
for money and such a situation gave music cannot be obtained even from those related
teaching an occupational identity. In addition, directly to musicology. AOCGİ, in this respect,
in some ads, diploma or school of teachers were can be counted among the most important
shared on ads and such a condition shows that sources for music culture and history in
society gave importance to career of teachers. Tanzimat and republic periods.
General music teaching at schools gained
importance in public eyes. Even though AOCGİ is a reference source
used in economic and commercial research, it
e. Other knowledge obtained from the annals is
can include significant knowledge related to
that in 1868-1869 term, all ads were related to
several scientific fields. Motions in economic
foreign music tutors while in republic period
and commercial activities can represent the
and after there are ads for Turkish music
changes in society and all the changes in the
teachers.
needs and habits of society can reflect
It is shown in these ads that with the themselves directly on economic and
beginning of 20th century Turkish music commercial life. In changing time, changes in
teachers/tutors began to be seen together with society’s consumption habits may have caused
those foreign and it means that music teaching some commercial activity types to disappear
began to be seen by Turkish music occupants as and emerge new ones. When considered the
a profession at the beginning of republic period. characteristics of music as an art associated
closely with trade, it is possible to see the clues
There are other ads including important of changes and activity alterations in music in
information in addition to those given above. the comprehensive works like AOCGİ. From
Annals also include ads, out of music tutorials, this point of view, advertisement for music
about the sales of pianos by showing the tutors recorded in AOCGİ may be important to
changes in consumption habits at that time. show the changes in Turkish music culture in
Annals include records of the development of especially Tanzimat and Republic periods. In
theatres through the ads of newly opened other words, increase in the status of musicians
theatres. This situation is important for music in society can be followed from these findings
art which is closely related to theatre in due to the increased honorary status of teachers
Tanzimat and republic periods. Ads of musical or tutors at that periods and increasing hiring
areas where musical performances are shown in prices also show the increasing importance of
addition to theatres in the annals and reveal the musicians in the social structure of that time. In
changes in musical performance types and areas Turkish music culture, in civil life fixed salary
in traditional Turkish culture in Tanzimat for music tutors is not a common practice but in
period. Additionally, advertisements for dance these annals such an application and its results

21
can be seen and some opinions can be gained Annex;
from the information in them. It can also be
followed from these annals that in Turkish An. 1. Advertisements for music teachers in
music culture, music tutors began to be 1868-1869 term
accepted in society as an occupation and official
status. Following this stage, music related Name Field Address
Abrami Derviş sokak No 25
institutions were established and such a (Piérre)
Piano and violin
Beyoğlu
condition can also be monitored in the annals. Borge
Piano
Yüksek Kaldırım
In addition, in 19th century, which is an (J.B.) No 24 Galata
Ermeni Kilisesi
interesting period for Turkish musical history, Bragozzi
Piano and Org Sokağı No: 10
(A.)
people closely related to music and giving Beyoğlu
musical services can be detected from the Cervati Karantina sokak
Singing and Piano
(Paul) No: 3 Galata
annals especially from Ottoman military Demoro
Galavany sokak
institutions and civil society. Such detections (Delphiue Piano
No: 17 Beyoğlu
)
are very important from musicological angles. Dassap Büyük cadde No:
In addition to such types of knowledge, newly Piano and Org
(Paul) 425 Beyoğlu
opened theatres, the zones with dense musical Foscolo
Piano and Org
Büyük cadde No:
(François) 378 Beyoğlu
activities, musical instruments, commercial Giammalv Peşkirci Sokak No:
facilities and their occupational fields, Violin
a (Paul) 1 Beyoğlu
performance areas and musical activities at Gravina
Organized
Şezar Sokak No: 9
(marc) Beyoğlu
these performance areas are important Devlet-i
knowledge to be determined from these annals. Aliyye
Guatelli Sakız Ağa sokak
Muzikalar
(Calisto) No: 85 Beyoğlu
ı Bnb.
Mdr.
Iory Asmalı Mescid No:
Piano
(Jean) 40 Beyoğlu
Lombardi Yeni Sokak No:10
Piano
(Auguste) Beyoğlu
Mounier Kömürcü Sokak
Piano
(J.B.) No: 10 Beyoğlu
Parisi Yazıcı Sokak No:
Piano
(Joseph) 19 Beyoğlu
Pisani
Büyük cadde No:
(B.Cheval Piano and Singing
346 Beyoğlu
ier)
Poumicon Büyük cadde No:
Piano
(Madelle) 47 Beyoğlu
Roberti Linardi Sokak
Flute
(Albert) No:15 Beyoğlu
Virgilio Dudu odalar Sokak
Violin
(Raph.) No: 5 Beyoğlu

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Değişim Süreçlerine Tarihsel Açıdan Bir [25] Uslu, R. Yüz Yıldır Aranan Meragi’nin
Bakış, Musiki Dergisi (Online),2011, Erş. Müzikler Hazinesi (Kenz-ül Elhan) Adlı
Trh. 19.03.2016 Eseri Bulundu mu?, Musiki dergisi
[9] Elçin, Ş. Ali Ufkî: Hayatı, Eserleri ve (Online), 2015, Erş.Trh. 17.03.2016
Mecmuâ-i Saz ü Söz, İstanbul, Milli Eğitim [26] Uzunçarşılı, İ. H. Osmanlı Sarayında Ehl-i
Basımevi,1976 Hiref (Sanatkârlar) Defterleri, Belgeler,
[10] Gazimihal, M. R. Türk Askeri Muzıkaları Cilt: XI - Sayı: 15, Ankara, Türk Tarih
Tarihi, İstanbul, Maarif Basımevi, 1955, Kurumu Yayınevi, 1981-1986
s.42 [27] www.obarsiv.com
[11] Haşim, Mehmed, Haşim Bey Mecmuası
“Annuaire Oriental Commercial Guides to
(İlaveli 2. Baskı), İstanbul, 1864
İstanbul” used in this research
[12] Hızır Ağa, Kemani, Tefhimü’l-
Makamat Fi Tevlidi’n-Nagamat, İ.B.B. [a] L’Indicateur Constantinopolitain. Guide
Kitaplığı, Muallim Cevdet Yazmaları 783 Commercial. Premıère Anneé (1868),
[13] İnalcık, H. Osmanlı ve Modern Türkiye, Hégire (1285). Créé par Raphael Cervati et
Timaş Yayınları, İstanbul, 2013, s.60 publié par R. Cervati et N. C. Sargologo -
[14] İnalcık, H. Has-Bağçede ‘Ayş u Tarab- Tarif-i Dersaadet, Rehnüma-yı Ticaret,
Nedimler Şairler Mutrîbler, İstanbul, İş Birinci sene, 1285-1868 Raphael Çervati
Bankası Yayınları, 2015a ve şeriki Sargologo’nun eseri. İstanbul:
[15] İnalcık, H. Şair ve Patron-Patrimonyal Imprımerie G. B. Pagano, 1868
Devlet ve Sanat Üzerinde Sosyolojik Bir [b] L’Indicateur Ottoman Illustré. Annuaire-
İnceleme (6.Basım), Ankara, Doğu Batı Almanach du Commerce de L’Industrie, de
Yayınları, 2015b, s.7-17 L’Administrati1on et de la Magistrature
[16] Kalender, R. Yüzyılımızın Baslarında
(1881), (Hégire 1298). Créé par Raphael
İstanbul’un Musiki Hayatı, Ankara C. Cervati et publié par Cervati Frères &
Üniversitesi İlahiyat Fakültesi Dergisi, c. D. Fatzea, Constantinople: Typographie et
23, s. 411-444. Ankara, 1978
Lithographie J. Pallamary
[17] Karamahmutoğlu, G.Türk Müziğinde
Kullanılan Notasyon Sistemleri, Yeni
Türkiye-Türk Musikisi Özel Sayısı, Yıl 10
Sayı 57, Ankara, Yeni Türkiye Stratejik
Araştırma Merkezi, 2014
[18] Lewis, B. Modern Türkiye’nin Doğuşu-
III.Edisyon (Çev. B. Babür Turna),
Ankara, Arkadaş Yayınevi, 2011, s.104-
138
[19] Ortaylı, İ. İmparatorluğun En Uzun Yüzyılı
(41.Basım), İstanbul, Timaş Yayınları,
2014
[20] Ortaylı, İ. Batılılaşma Yolunda, İstanbul,
İnkilâp Kitabevi, 2015, s.210-303

23
Arrangement Music in Turkey in 60’s as
East-West Eclecticism
Research Assistant Münevver Arıkan and Prof. Dr. Ayşe Azman
Mersin University- Sociology Department

Abstract.This study focuses on the arrangement music which can be regarded as a popular music genre.
Considering Turkish modernization process, with Western technical and the concept that brings together local
elements in many areas of social and cultural life caused to the formation of a structure. Especially after 1950
types of music which can be described as hybrid music type was born. Arrangement music is one of this hybrid
music types and emerges with the examples that are performed by typing Turkish lyrics to western music. With
the framework of this study, The selection of 1960 period is not a coincidence. This period is important for being
a period that the social aspects of the changes and the speed of this change is so obvious and the decisive in which
both appear that the arrangement of music in the production of various genres.Starting with the Republic,
Westernization / modernization process has gained speed in the 1950s. In these years that tradition and new came
across very clearly, neither tradition was not abandoned nor new could forsake. In the period that is difficult to
make a choice between, it is decided that to make synthesis with both two elements. Therefore, at this point in
both the construction of identity, as well as to ensure the integration of the new and the tradition it seems to begin
creating the new musical genres. The arrangement music is considered important for being the new form of the
result of this process.

Keywords: Turkish Modernization, arrangement music, eclecticism, east-west

1. Introduction civilization considering music, it seems that he

puts folk music against traditional Ottoman /
The aim of this study is to examine the Turkish music as an element of national culture
arrangement music which gave its first which he accepts foreign and non-national as an
examples in 1960s with the projections on element of national culture. But Gökalp says it
music on social change in the process of cannot be found in contemporary folk songs,
Turkish modernization. When the Turkish this feature has been looking at the technical
modernization process remembered, certain and harmony of West. At this point it can be
changes are observed in music as in many said that Gökalp efforts to create a modern and
areas. Depending the period of the conjunctural national music for Turkey, inspired by Europe
nature, social change formula is based in one occurred in the 19th century national music
hand resists the protection of local resources on trends [4].
the other hand is based on Western-style
technical forms. This vision is built on the In the result, in a way, a result of
separation between modernity and national westernization policy that tried to create a new
thoughts of ZiyaGökalp. If it is read through national identity that making the a reckoning
Gökalp’s conceptualize of culture and anti-Ottomanism with everything that reminds

24

197
of the Ottoman Empire has tried to be denial of possible either. The differentiation of types of
legacy. Western values are chosen as reference music shaped by Westernist-modernist trend is
in the effort to create a national identity in the proof of that situation. In one hand music
style of Western music. With a forcing genres appropriate to the level of appreciation
approach performed to study the situation from new population in this period while
arising out towards innovation, the social layer popularizing the music market-can be named as
with musical understanding that the state is popular music- on the other hand Westernist
adopted to pursue persistently in spite of tendencies can be observed in accordance with
government employees is a contradiction or the modernist and rather appeared the new
differentiation cases between traditional or arrangement grows that younger generation
classical Ottoman music of the culture. Because listened to music. Incorporating elements of
of the westernized policies carried perhaps the Western and native music arrangements also
most difficult and controversial process that poses a corresponding view of the emerging
emerges in the field of music. In that time, it is and eclectic musical style available in this
also has cultural and artistic policies are both an period. When the subject is considered from
aesthetic concern only to transport and allow to this point, in this study, arrangement music that
adopt the functions the public with performed serves as one of the add-on part in the
and modernization revolution [11]. In this construction of social identity in the 1960s will
context, The synthesis set by the central concept be discussed.
has created a chaotic situation arising from the
new and old rivalries. Musical genres that
performed for this purpose are affected by this 2. Turkish Modernization and its
chaotic environment. In this environment, in Reflections on Music
general, the performed music is an eclectic
structure. The eclecticism cases in here -style As is known, the main problems encountered
on the different cultural elements, tools, styles, in the process of being built after the collapse of
techniques etc., means the creation of a new the Ottoman Empire that the identity of the
form by bringing together. This is the result of state will be established on which basis. Many
bringing together the different elements in a names offered new suggestions for problems
selective manner. Therefore, it is a conscious especially ZiyaGökalp seems to form the basis
choice as to what will be included in the of the dominant ideology. Gökalp made the
foreclosure process in the case of eclecticism. distinction between the concepts of culture
When this situation evaluated in the context of (hars) and civilization, informed the realization
Turkish music, in the synthesis of musical of the harmony between the two as a
styles that are performed especially in the prerequisite for a healthy society. Gökalp sees
period after 1950 has attracted the attention of a Ottoman culture and Ottoman corrupt and even
structure rather than the presence of an eclectic artificial; he argues that instead the need to turn
look. to Western civilization. At this point, he
identifies civilization with Western and
The period of the exercise of eclectic music specifies culture as a point to develop the
style can be said that the social conditions are values and ideals of national consciousness [7-
effective in the post-1950 period. Turkish 12].
modernization has started a new phase in the
1950s. Based on the location of the forcing Gökalp developed a theory with a synthesis
process of social change has taken democratic- idea to overcome the problem of identity. If we
populist development process. With the make a very general distinction, it is seen that a
adaption of the multi-party, life began to take a new model emerged in the modernization
greater share of the benefits of modernization experience there as opposed to the Republic of
on social masses. Demographic structure of the Turkey from the Ottoman period is now West
city as the center of modernity and rural origin axial modernization understanding of
population has changed rapidly and started to traditional and modern in based on the
flow to cities. New population, who immigrate elimination of the traditional elements of
new to the city, has been the tendency to navigating a clear distinction. Therefore, it can
infiltrate the political and social center. This be said that the realization of a radical break
trend can be observed in terms of music is 25

198
with understanding of traditional elements with therefore rejection of the image. That refers to
denial of legacy in Turkey [5]. the phenomenon can be called as false
Westernization. Because progress or seek of
As it’s mentioned above, segments of society modernity only "old to new is better" principle
and institutions are affected by this process. reduced to the East-West dichotomy West is
The traces of this understanding can be seen in definitely superior to everything, a concept is
art and more specifically in music. During this established as innovation itself. Western
period, in music context which constitutes one European style belongings such as modern-
of the basic trivets of the execution and the beautiful-beneficial were called as alafranga;
state's identity seems that there is a showdown East was called with such names as old as the
with the past. Therefore, elements of Western back-ugly-perceived bad that alaturca [8-6].
technique plus local shows itself most clearly in Therefore in the researches of music, it should
the formulation of the music. As it is called be discussed if it can find or not the exact quest
Musical Revolution by the state's founder and in the Republican Turkey. Because it is seen
executive staff in the process of music, it would that it actually returns to a type of music
not be wrong to say that there is a certain eclecticism aimed at the synthesis of cases of
attitude of Westernisation. In this context, such this. And this kinds of music emerge especially
as statements relating to music, both Gökalpand after 1950. When the topic is considered in the
Ataturk's are very decisive opinion on the music context of arrangement music, this music genre
of the Ottoman Empire. Here, it is useful to is important aspect in that period that we come
refer especially Gökalp’s opinions on music: across especially '60s began to be performed.
Gökalp states in the essentials of Turkism
separating from the Turkish art from Ottoman, Before dealing with musical arrangements, it
he claims that there are two different music in is necessary to generally explain the political
the Ottoman Empire before introducing with changes during the 1950s and their reflections
Western music. These are Eastern music which on music. Until the 1950s, Westernization
is taken from the Byzantine, and folk melodies policies were presented as the official policy of
of the old Turkish music and the other the state. However, as previously stated,
continuers. He characterizes the East music for Westernization policies led to a chaotic period
both sick and anti-national and specifies the in the history of Turkey. This period can be
folk music informally as national culture. explained as the reconstruction of the cultural
Western music it is not foreign to the national system, and the centre of the state determined
culture because it is unique to civilization, and the direction of Westernization. In the 1950s,
therefore the music that will occur as a result of the reflection of these policies on the music
the fusion of Western music with folk music is took a different form. The strict rules of the
accepted as both the national and European state about policies led to a conflicting situation
music can be owned [12]. This built on the between the musical taste of people and the
distinction between the basic direction of the taste imposed by the state. Thereby, the
reform of the Musical Revolution and abovementioned struggle to form a synthesis
modernity and a national player with clarifying actually served to form a chaotic period. The
this distinction is the creation of synthesis of new values were accepted by neither the state
moving from folk songs and contemporary nor the society; and the gap between the
music with Western technique and harmony of Turkish classical music and folk music was
a national music [4]. widened. The Western impression of the state
was implemented via all the state institutes.
As a result of these changes, it can be said According to this, the cultural policies not only
that Turkey views the provision of social life is had aesthetical interests, but also had the role of
experiencing a very serious crisis of culture and making the people adopt the modernization
identity. The imposition of foreign culture improvements [11].
elements on society makes the realization of
this crisis expectable. It is a production of During the Democratic Party period, with a
excapted by the squads understanding of the convenient political attitude towards the USA,
past with the aim of throwing out all their the Westernization movement became popular.
savings, that based on the cultural and social The luxury products, modern machinery, new
life of Ottoman Empire which was adopted and job fields, new type of buildings, roads, light
26

199
boards from the Western culture made the fasıl which is an adaptation of Turkish classical
people in the big cities learn about the West. music to musical halls, arabesque which is a
Due to this renewed city life resembling the hybrid of different techniques and cultures, and
West, the cultural life in Turkey was also Western pop and rock. These genres are eclectic
affected much more significantly [1]. mixtures of local, regional and universal
musical genres; and they helped to improve an
Accordingly, the political approach during eclectic and cosmopolite structure in Turkish
the 1950s became significant for culture and art popular music. Since the early, Republican
values. During the single party period, the state period, Westernization was always important
tried to form a unique structure of Western and for Turkish culture. Accordingly, the operettas,
local elements; and then there occurred a huge tangos, jazz works, rock’n roll covers were
migration waves towards the cities. As a result, performed with the new approaches in this
genres like arabesque, arrangement, Anatolian period. These genres were imitated to form a
pop and Turkish light music appeared. In that Turkish musical system. In that case, we can
case, the crucial feature of the post-1950 period say that the actual conception for the Turkish
was to realize a change in music compared to popular music is to keep national identity but
single party regime. All the genres mentioned still to perform Western music[9].
above1 are syntheses of Western style and local
elements. Consequently, the genres during the 1960s
had the aim of synthesis. Erol explains the
struggle to mix the local music with the popular
3. The Musical Arrangements during the ones:
1960s
“The ‘aesthetical’ elements of the
Before stating the background of Turkish international popular music industry can
musical arrangements and explaining the provide standards for the musicians in different
relation between music and social class, it is countries or for the musicians who live in the
necessary to explain the notion of arrangement. same region with different styles. The
The term “arrangement” comes from “arrange”, musicians who demand to be famous
“to edit”. According to the definition in worldwide can see superstars as an example. On
Meydan Larousse: the other hand, some of the musicians may
decide to have a local or national career and
“Arrangement: An adaptation, an create a mixture of these different elements. So,
interchange, an editing in a musical work piece the different styles which are called syncretism
to make it fit to another medium other than the or hybrid can be formed” [2].
specific sounds, instruments or a group of
people for which it was originally written”. The Western style works during the 1950s
were intertwined with our own cultural
It is possible to say that this term implies to experience in this period. The folk songs were
rearrange, adapt and edit a musical work which performed with Western style instruments, both
was already arranged in another way. What West and East instruments were used together,
must be underlined is the fact that while folk poems were composed in Western style
arranging the previous melody is kept and a and lyrics were written for West-oriented songs.
musical assortment to the melody is provided These attempts served for the notion of
[10]. synthesis. These forms and musical
arrangements became much more mature
For the Turkish case, there is during the 1970s, yet the 1960s are important to
incomprehensibility in musical genres, prepare the ground for this improvement thanks
especially in the popular music. The real to Westernization attempts. It was pretty clear
definitions of musical arrangement, fasıl, that the musicians in this period imitated the
Anatolian pop, pop, arabesque are uncertain. West in terms of lyrics and music, as we can
Popular music is generally comprised of the conclude from their clothes and music choices.
However, this kind of imitated works has a
1
Amongthese genres, Arabesque has a special role. limited effect on the people. The lyrics and
Itcombinesboth the Western andEasternmusicalelements. music needed to be adapted to fit the Turkish
Itlocalizesmanyfeatures. 27

200
culture. The notion of synthesis of Turkish change and begun to be played in various
lyrics with Western songs became a way to formats. The direction of this change in the
solve this. There are two main ways for this music is also the Western. Taking the Western
synthesis. First of them is “arranged-light methods and techniques as a reference has led
music” and the other one is “Anatolian pop”. such the formation of a number of duality as
The songs which were performed in English, Eastern-Western, modern-traditional,
Italian, French or Spanish were arranged, the monophonic-polyphonic, and alaturca-
music and sound stayed the same but Turkish alafranca.
lyrics were written for them. Thanks to Turkish
lyrics, the listeners in Turkey could adopt and The arrangements -musical arrangements -,
like the songs much easier; it also helped one of the music types started to be played in
popular music market to get stronger. this era of duality, has a similar view as well.
Important figures like FecriEbcioğlu and Sezen Although the opinions with respect to that this
Cumhur Önal pioneered this period with playing forms shows a form of synthesis have
arrangements; and with their attempts, many been given place above, the ultimate outcome
singers preferred arrangements and the period achieved within the scope of this study is that
was named after this movement [1]. this music, especially the arrangements, is the
It would not be impossible to say that the fact presenting an eclectic view in reality.
social movement experienced in the 60’s played Because, superimposing the Turkish lyrics and
an important role in the emergence of the Western melodies on each other is met with in
concept holding together the social movements these songs, rather than a word-music
of the domestic and western elements within the integration in the real sense.
music. In this context, it can be seen that in the
1960s, westernization, together with a When it is approached in terms of music and
nationalist understanding found its reflection in identity, it can be claimed that the music
music [3]. It is important to remark that this (arrangement) of the period, which represents
political stance makes its presence felt in folk integration into Western culture, did not only
music and minstrelsy that embodies protesting appeal to middle class but also had a nationalist
features. Thus, the music of the 60s represents a point of view. However, it is important to
group of people feeling drawn to the Western remark that the notion of nationalism here made
culture and in terms of both its lyrics and its presence felt in terms of only performing
melody, it contains such themes as freedom, Western songs in Turkish, which was caused by
love and happiness of the individual. In this the aim of gaining appreciation of a larger
sense, when the political stance of this group, with a more market-oriented point of
particular period is evaluated in terms of view.
arrangement of music, it is observed that the
nationalist stance of the period did not only
build the nation’s own identity but also to References
performed its own music and it also called
people for a westernized life style. Hence it is [1] A. Akkaya, F. Çelik, Aranjmandan
no surprise that a great majority of the Anadolu popa Türkiye’de 1960’lı- 70’li
performers were individuals from middle class, yıllar, in 60’lardan 70’lere 45’lik
who felt themselves drawn to Western culture şarkılar, BGST Press, 2006.
[1]. [2] A. Erol, Bir dönemin popüler müzik
ikonu olarak Zeki Müren, in biyografya
3: Zeki Müren, ed. Ayşegül Yarman,
4. Result Bağlam Press, 2002.
[3] B. Yıldız, F.Çelik, Türkiye’de popüler
There occurred significant changes in Turkey müzik ve kadın(1960-1980), in
going hand in hand with the Westernization 60’lardan 70’lere 45’lik şarkılar, BGST
movement, which reached its peak in the early Press, 2006.
republican period and later on, though having [4] C. Behar, Musıkiden Müziğe
much longer historical roots. Considered among Osmanlı/Türk müziği: gelenek ve
the important tools to infuse the revolutions into modernlik (makaleler-kaynaklar-
the people, Music has been affected by this metinler), Yapı Kredi Press, 2005.
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201
 [5] C. Metin, Emperyalist çağda
modernleşme Türk modernleşmesi ve
İran (1800-1941), Phoenix Press, 2012.
[6] C. Tanrıkorur, Müzik, kültür, dil,
Dergah Press, 2009.
[7] E. Kongar, Toplumsal değişme ve
Türkiye gerçeği, Remzi Press, 2008.
[8] K. Erguner, Ayrılık çeşmesi, İletişim
Press, 2010.
[9] M. Stokes, Aşk cumhuriyeti Türk
popüler müziğinde kültürel mahrem,
Koç University Press, 2012.
[10] R. Uslu, Müzik terimlerindeki
karmaşanın akademik çalışmalara
yansıması: orijinal, nazire, çeşitleme,
varyant, aranjman, cover, icra, 2012.
İDİL Journal of Art and Language,
Volume:1, Number:2, 144-165.
[11] Ş. Durgun, Türkiye’de devletçi gelenek
ve müzik, Alter Press, 2005.
[12] Z. Gökalp, Türkçülüğün esasları,
Gençlik Kitabevi Press, 2012.

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Love in Popular Music: Sezen Aksu Example
Serra Sezgin
Ankara University, Department of Journalism

Abstract. This study examines Sezen Aksu’s songs which are about love in order to understand how love has
been represented in these songs and whether they are different from other love narratives in popular culture. In
order to understand this, since 1977, 226 songs of Sezen Aksu from 22 albums are examined with discourse anal-
ysis. It is found out that these songs define and represent love concept in a different way than other popular love
narratives. Sezen Aksu’s love songs portray love as a source for hope, inclusive and superior than the material
world. These songs generate an alternative love discourse to the mainstream love narratives. In this study it is ex-
plained what kind of discourse has been adopted in these songs, in which levels they differentiate from main-
stream discourse and whether they associate with other love narratives.

Keywords: Love, music, popular culture

1. Introduction
On the other hand, since both love and music
reflect the cultural and emotional atmosphere
Music, as one of the ways to transfer emo- that they have been formed, they seem like
tions and thoughts, functions like a bridge be- evolving into anger and violence. In order to
tween its creator and the audience. The music observe this assumption, Sezen Aksu’s songs
we are listening to transfers various emotions to have been examined within this study. Sezen
us. From this perspective, considering music as Aksu, as a famous Turkish pop singer and a
a medium, it is expected that the audience and songwriter, testified various phases of Turkey
listeners are effected in a sense. Thus, this study and Turkish music’s socio-political and cultural
aims to understand what kind of messages giv- transformations. The love she has been telling
en by songs to their audience. since 80s has a discursive consistency. For the-
se reasons, this study examines Sezen Aksu’s
Songs are mostly related to an ultimate emo- songs’ lyrics which are about love, with dis-
tion, love. Lyrics are mostly about love for a course analysis. Thus, 226 love songs’ lyrics
reason and people embrace to music when they from 22 albums beginning from her first album
fall in love, when they become sick of love, get that released in 1977 until today have been ana-
tired of love or hurt by love. Therefore, that lyzed in order to find out how love has been
would not be wrong to state that music and love told and defined in these songs and whether it is
have a deep and special relationship. The reason different from other popular love songs of today.
might be the inadequacy of the words when it
comes to narrate love but with music, another
language becomes possible or maybe it is be- 2. The celebration of love
cause love and music both are strong and crea-
tive. Either way the relationship between love In Sezen Aksu’s lyrics, love has always been
and music seems outstanding. generated within a positive discourse. Love is

30
usually described as a source of hope and an
element of creativity. In other words, it is hard Mevlana positions love in the center of uni-
to find out a negative attitude such as hate or verse and says that the ultimate reason for god
spite towards love in these songs. Instead, love to create the universe is love. Mevlana also
narratives are built in a festival alike concept, mentions that love is all through the world’s
described as something needs to be celebrated main veins. In order to this perspective, love is
with dancing and singing. Sezen Aksu often the core of the world [4]. Thus, love songs of
invites the audience to celebrate love either af- Sezen Aksu resembles Sufistic love narratives
ter a breakup or while beginning for a new by positioning love in the center of life and the
journey of love. This celebration of love, posi- world and comprehending the world by not
tions it as a rare and supreme feeling. commodities but love.

The same positive and constructive approach Similarly, in these songs love is not consid-
is also a subject for the beloved ones. Although ered as a one-time opportunity or deliberated
the songs include disagreements, separations or for one unique partner. Instead, it is a continu-
complaint, the beloved ones never pictured as ous process and love is always possible anytime
enemies or people that should be hated. Many for anyone. This means, the important thing
times Sezen Aksu mentions that partners may defined here is not the loved one but the love
stay as friends even though they broke up. itself. This picture of love is also resembles Su-
Likewise, romantic heartbreaks are not underes- fistic love narratives. The album of Aksu
timated but they positioned as a temporary sad- named “Işık Doğudan Yükselir/Light Rises
ness and they are never seen as an obstacle to from the East” released in 1995 consists of po-
fall in love again. In other words, in love narra- ems of Sufists like Mevlana, Yunus Emre and
tives, which do not have any happy endings, the Aşık Daimi, sets an example for this resem-
suffering described as a temporary phase and a blance.
hopeful discourse about new beginnings is
adopted mostly. In short, it is analyzed that
there is a positive, constructive discourse for 3. Songs for the beloved one
both love and the loved ones which is not
common in love narratives in popular media The love songs of Sezen Aksu are also dif-
including Turkish popular music. ferentiate itself from mainstream discourses by
the narratives of beloved ones. The general atti-
In Turkey, popular music produce love narra- tude towards love, the compassion, positive and
tives within a destructive discourse including constructive approach is also continues when it
violence and anger, like it is with magazines or comes to loved ones. Although the separation
TV serials. In this context, Sezen Aksu’s love from beloved ones includes complaint; hatred
songs are conducted in a constructive and posi- never comes to the scene. For example in one
tive discourse unlike the mainstream love narra- of her old songs, named “içime sinmiyor” from
tives. In these songs love described with hope 1978, Aksu wishes happiness to her lover, that
and celebration and as a phenomenon that she couldn’t be together, with another person.
makes life valuable with all of its joy, happiness, In her songs, past/old partners are not men-
sadness, pain, betrayals or loneliness. tioned as they are dead or unimportant. The
emotions like anger or disappointment are gen-
In addition, Sezen Aksu’s love songs are also erally directed to destiny, the norms but not to a
differentiate from mainstream love discourse by person. This is another point for these songs
not assimilating commoditized love narratives. that differentiated them from mainstream love
In these songs love is supreme than commodi- discourse.
ties, money and it is represented as a way to
deal with the world’s or life’s struggles and It is found that, in these songs, the concepts
negativity also described as a tool to investigate disturb the purity and sanctity of love are, lies
the world or life itself. Love gives the meaning and the loved ones’ alienation. Telling lies to
of life according to these songs. On the one the beloved one represented as the first reason
hand this discourse is different from popular for the end of romantic relationship and it is
love narratives. On the other hand it resembles externalized from love. The loved ones’ becom-
to Sufistic love narratives in this context. ing someone else, alienation to his/her personal-

31
ity is the second main subject described as un- ones and love has a meaning more than just be-
desirable. The expectation from beloved one is ing in love with someone; past lovers are not
nothing physical or material, it is just honesty. seen as worthless individuals. Also consistent
with the hopeful discourse, this prevents to get
obsessed with a person or a moment.
4. Melodic melancholy
Besides the representation of love excluded
While Sezen Aksu was singing about love, from material world, superior than other things
she didn’t just mention the bright side of love and the melancholia emerged from the anger
but also the sadness and sorrow. There is a turned into the self, the concept of love in
large room in these songs for separation, pain Sezen Aksu’s songs are also parallel with 19th
and complaints but despite the other popular century love narratives, like it is with Sufistic
love narratives, these feelings do not led to vio- love narratives. Presenting love as superior than
lence and/or destruction. This melancholia and other values, emphasizing the importance of
sadness do not respond by hatred, revenge or honesty, presenting the death for love as sacred
grudge. At this point, anger is generally turned and desirable are the common grounds for 19th
into the self, mistakes are looked for nowhere century love narratives and Sezen Aksu’s songs.
else but in the self and this recalls Freud’s theo- In order to set an example for this resemblance,
ry of pleasure and death instincts. In order to Goethe or Shakespeare might be remembered.
this theory, suppressing destructive emotions For instance, Romeo and Juliet, killed them-
moves the individual’s death instincts and caus- selves since they weren’t able to be together
es a deep sadness and a wish for death. In other because of their families’ hostility or Werther,
words, the more a person suppresses his/her preferred to sacrifice his life instead of make his
offensive tendency, the more he/she becomes love Charlotte, who was married to someone
more tyrant to his/her self. That means when else, feel anxious. In both examples, death rep-
someone tries to take control of his/her supere- resents an ultimate cure for love, like in Sezen
go and suppresses it, offensive tendency turns Aksu’s love songs, death is preferable to a life
into the self. When this reached to extreme lev- without love or breaking beloved one’s heart.
els, it turns into melancholia and a wish for
death [2]. Apart from these, it should be stated that
Sezen Aksu, especially with her album “Işık
On the one hand, it is possible to under- Doğudan Yükselir/Light Rises from the East”,
stand Sezen Aksu’s songs with Freud’s afore- included feminist narratives and ethnic discus-
mentioned theory. Melancholia and the anger sions. Martin Stokes’ book Aşk Cumhuri-
directed to self in these songs may be evaluated yeti/The Republic of Love (2012) explains the
with Freud. On the other hand, the suffering of subject in detail. As Stokes mentioned, it is
love is portrayed as a temporary sadness and possible to interpret some of the songs in this
not an obstacle for falling in love again. This album as feminist bildungsromans [3].
discourse on love aims to give hope to the audi-
ence, explaining this suffering as temporary On the one hand, emphasizing ethnicity and
while not underestimating it. In short, while the social pressures/norms women face with, is
emphasizing the reality and importance of love, important also from the perspective of love;
emotions like yearning and sadness portrayed since love wouldn’t be possible without equali-
as temporary phases and both beloved ones and ty. At the same time this shows Sezen Aksu’s
love itself is defined within a hopeful and en- effort in order to establish the embracing, unify-
couraging discourse. ing discourse of love in practice.

On the other hand, Sezen Aksu generates a

5. Evaluation love discourse in the context of free love by an
egalitarian and emancipatory discourse. Since
From a wider perspective, in her love songs, in these songs, lovers are not shaped in an own-
Sezen Aksu narrates love as something should ership relation and sexual love has included
be embraced with all of its characteristics, in- within erotic connotations, it can be said that
cluding the suffering. Additionally, since the the discourse of love have been constructed
love itself is defined superior than the loved within a free love context. Although sometimes

32
being in love suggested as a captivity of emo- ture is not completely conservative and narco-
tions, it is clearly expressed that being in love tizing but also not completely progressive or
does not mean to be captivated by the loved one. emancipatory. According to him, popular cul-
In other words, beloved ones are not described ture is a field where hegemonic and opponent
in a relationship based on ownership whereas discourses come over against each other, strug-
the love itself is described as a capturer, capti- gle and transform each other [1]. In other words,
vator. To set each other free for lovers, it is im- popular culture is an arena for battle. Thus,
portant in respect to consolidate the discourse popular culture products are not simply tools
of free love. Sezen Aksu reinforces this analysis for manipulation but they allow us to have
by both criticizing the mainstream love narra- pleasure which civilization and its norms had
tives which materialize and consume love and banned or suppressed. In addition, popular may
by reproducing free love discourse. be thought as a field for resistance and revolu-
tion considering its nostalgic subjects, celebra-
It is valuable to produce the discourse of free tory qualities with also its connection to socio-
love instead of popular love narratives that se- logic transformations.
verely love from its egalitarian and emancipa-
tory discourse. Love’s emancipatory potential This study has supportive results for Erol
are detached day by day in this capitalist socio- Mutlu’s approach to popular culture. Since
economic system in which emotions are com- Sezen Aksu’s love songs portray love as a
mercialized like products. In this context, Aksu source of hope, embracing and superior than the
underlines love’s emancipatory and revolution- material world, they can be considered as an
ary potential and establishes an alternative dis- alternative love discourse to the mainstream
course around this. love narratives. The love narrative in these
songs coincides with 19th century and Sufistic
It is necessary to point out another findings, love narratives instead of mainstream love dis-
for instance, the nostalgia, the aspiration for the course. Then, they are important for the reason
past and previous romantic relationships are that establishing an alternative discourse inside
significant. In this context, Sezen Aksu is in a from popular scene and this can be considered
complex relationship with the time concept. as a step towards transforming the popular into
Time is represented as both a source of healing a revolutionary field.
and as a negative concept for taking out years,
experiences and love away from us. The second This might be a small step but in addition to
significant point is about the invitation for the love transforming into an industry, today love is
audience. Sezen Aksu usually invites the audi- considered as an excuse or extenuating circum-
ence or the loved one to love, to escape, to have stance for murders. Then there is probably a
fun or to grieve. This invitation is coherent and more important problem than not being able to
senseful since the fear of loneliness is men- love; which is interpreting love as something
tioned often in the songs. that is against to and presenting it as an excuse
for violence and hatred. Although love is relat-
ed to these feelings in different ways, love can’t
6. Conclusion be the source or an excuse for oppression or
revenge. The products of popular culture like
One of the approaches that criticize popular music, TV serials and films have a reasonable
culture defines it as “mass culture” and under- role in this misinterpretation. Sezen Aksu’s love
lines its repetitive, standardized nature and nar- songs on the other hand, seem important be-
cotizing function of popular culture products. cause they are generating an alternative dis-
On the other hand, there is another approach course inside from and against this pool of dis-
that based on defining popular culture as an course. This alternative discourse on love and
area where hegemonic and alternative discours- compassion seems like the only way for human-
es collide and see popular culture products as ity to be saved; since there is a lot that drives us
people's’ daily lives’ products. This approach is to despair, it is not easy to fall in love and stay
basically critical in a more positive sense since in love with someone or with the life itself. At
popular culture defined also as a way of re- this point Sezen Aksu’s love songs seem like
sistance. One of the representatives of this ap- offering a hand in order not to lose hope, and
proach, Erol Mutlu, mentioned that popular cul- love despitefully.

33
References [3] M. Stokes, The Republic of Love/Aşk Cumhuri-
yeti: Türk Popüler Müziğinde Kültürel Mahrem,
[1] E. Mutlu, Popüler Kültürü Eleştirmek, in: Doğu translated by Hira Doğrul, İstanbul: Koç
Batı Düşünce Dergisi 15 (2001), 11-44, p.42. Yayınları, 2012. p.186.
[4] S. Derin, Mevlana Celaleddin Rumi’nin Sevgi
[2] H. Marcuse, Eros ve Uygarlık/Eros and Civiliza- Anlayışı, in: Doğu Batı Düşünce Dergisi 26
tion, translated by Aziz Yardımlı, İstanbul: İdea (2004), 289-304, p. 291.
Yayınevi, 1998, p.76.

34
Raci Alkır’s Turkish Folk Music
Cengiz ŞENGÜL
Ataturk University
Kazım Karabekir Faculty of Education
Fine Arts Education Department
Music Education Department
[email protected], [email protected]

Abstract. From Erzurum Raci Alkır, The Pasha of Turkey folk songs and the master of Tatyan, has a rightful
and important fame thanks to his performance and compilations in Turkish Folk Music.
He introduced many songs which sound good such as ‘Dün Gece Yar Hanesinde Yastığım Bir Taş İdi, Seyreyle
Güzel Kudreti Mevla Neler Eyler, Tutam Yar Elinden Tutam, Hani Yaylam Hani Senin Ezelin etc.’ to the
society and took them out of Erzurum.
Of course, his fame is not limited to his contribution to Turkish folk music. He also compiled 46 works to
brought in repertory of Turkish National Broadcasting Company (TRT) both as a resource person and compiler.
The type of songs called ‘Tatyan’ are the primary type of songs that people love listening by Raci Alkır’s voice
and those songs brought him fame. It is a situation that has been considered as a tradition to call Raci Alkır as
the master of ‘Tatyan’. by those who deal with this profession Although the songs called Tatyan in
Musicological terms, the word has not been clarified both in terms of it’s etymology of and description among
folk songs, it had fame as a form of folk song in Erzurum and it can also be encountered in some other cities.
Keywords: Turkish Folk Music, Musicology, Raci Alkır.

1. Introduction He joined the army to perform the military

service in 1954. He made his military service
1.1. Raci Alkır’s life
in Samsun, İzmir, Dumlu (a village in
Raci Alkır was born in Yukarı Hasan-i Basri Erzurum) and finally in the centre of Erzurum
Mahallesi (Gâvurboğan Mah.) Kemal Bey and he was disbanded in 1955. He continued
Sokak No:2 Erzurum, 1933. His father’s name doing his job during his military service and he
was Şefik and his mother’s name was Şadiye. opened a tailor’s workshop after he had been
disbanded.
Raci Alkır studied at Palandöken Primary
School. After he spent some time in the Before military service he continued his job
primary school, his father decided him to for a while with his art life by joining Folk
work as an apprentice at a local tailor’s shop Music Community which was established by
because of his love of music. Hulusi Seven and within the Erzurum
He angeged with Miss Şükriye from Community House and Music Community
Umudum Village in 1951 and they got married under the direction of Faruk Kaleli. He met
with TRT institution when TRT Erzurum
in Erzurum when he made his military service
in 1954. The first of five children Abdulkadir Radio was opened and “Doğudan Sesler
was born in 1957, Kadriye was born in 1958, Korosu”(Voices from the East Choir) began to
be broadcasted in 1961. He decided to give up
Şenay was born in 1960, Nesrin was born in
working as a tailor because of his intensive
1965 and Vahit was born in 1969 [2].
musical life.
1.2. Social Environment and Business Life
Raci ALKIR won the trainee exam which
His father gave him as an apprentice to was made by TRT Erzurum Radio in 1966 and
Beyoğlu tailor's workshop which was in he had his staff degree in 1971, then he began
Erzurum. He worked with his master, Ömer to work as a regular singer in the Turkish Folk
Arı for a while, after that he was hired by Sırrı Choir and he retired voluntarily in 1981 [2].
Alkan, a colleague who opened a shop, as a
worker. as He became a well-known tailor in
Erzurum and in his neighborhood in short time.

35
1.3. Personality Raci ALKIR began to Folk Music Choir
which performed its activities within the
Raci Alkır is a beloved person in his family
Erzurum Public House in 1945s. In those
and neighborhood. He never leaves alone his
years, the director of Erzurum Public House
family and his friends in their good and bad
was İhsan Şafak and the chief of choir was
times. He is well-known for helping people
generously both financially and spiritually. Faruk Kaleli [6].
Having a good sense of humor has brought him New formations began to appear as a result
an important fame. of closing of Erzurum Public Houses and the
His surname was written as’ Albayrak’ disappearing activities in these houses. One of
wrongly in his primary school days, but it is those formations was Erzurum Folk Dances
seen as Alkış his recordings. and Erzurum Folk Songs Community
established in Erzurum in 1954 [8].
Because of being a beloved person and his
mastery in music, he’s been given the Turkish Folk Music Choir was established
nicknames such as “Erzurum’s Pasha”, “Pasha by the management of Hulusi Seven with the
of Folk Songs”, “Master of Tatyan”, “Türkü advice of Faruk Kaleli. “O Maral Bakışın”
Pasha” and “Pasha”. was the first single Folk Song that he sang with
the Community Choir. He learned it from Zeki
He is called Pasha both by his friends and Orhan in Erzurum. Alkır mentioned that he
the musical society. He claims that these sang this song at the 12th March Independence
names were given him by people and they have Festival which was held at Erzurum Public
been kept alive orally until today and he saw Education Center in 1956.
these names as a symbol of importance given
to his music. He performed a song named “Atımı
Bağladım Nar Ağacına” at the festival which
2. Raci Alkır’s art was held as a part of the activities of
2.1. The factors that prepared his being community in 1958.
craftsman Alkır made everyone talk about himself by
Raci Alkır’s interest in music began in his his individual and Choir performance as a
childhood. He states that he tried to listen and result of joining the activities from different
sing all the melodies he heard in his parts of the country. Moreover, together with
neighborhood and at school carefully. He also the master of brass instrument Suat Işıklı, he
states that especially a religious group called carried out his studies of Turkish Folk Music
Nakşibendi gathered in their house and during Choir within Erzurum Public Education
this meeting they performed Erzurum’s lyrics Center.
and these lyrics affected him very much. Being 2.3. The years in Erzurum TRT radio
convenient to mysticism and epic songs, his
voice tone has had an important role on his Erzurum Turkish Folk Songs Choir within
future and he began to use such lyrics much Erzurum Folk Dances and Folk Songs Tourism
more. Community usually performed at the 12 March
Festival which is the independence date of city,
His first on stage experience was at primary and at the special days organized by the
school when he was ten years old. He sang a governorship until 1960. TRT Erzurum Radio
song named “Meşeli Dağlar Meşeli” which he began to work with the order of President
learns from his elder sister in his Cemal Gürsel and it provided a facility to the
neighborhood. Afterwards, he had been Choir thanks to its short signal broadcasting.
listening and memorizing the folk songs until Thence, Erzurum Folk Dances, Folk Songs
he joined Erzurum Public House, Erzurum Community and Turkish Folk Songs Choir
Folk Dances and Erzurum Folk Songs Tourism created an impression around the country.
Community. Raci Alkır states that he With the broadcasting, the Choir of the
memorized the songs and lyrics without community took the name of “Doğudan Sesler
writing them down Korosu” and it began to broadcast not only
2.2. Erzurum public house – Erzurum folk Erzurum folk songs, but also it broadcasted the
dances and folk songs community songs belong to Easter Anatolian Region [7].

36
 Raci Alkır performed the song named “Baba by TRT. Besides there are 7 records, 2 CDs
Bugün Dağda Duman Yeri Var” in his first and 1 cassette.
radio Broadcasting. He sang many folk songs
Raci Alkır practiced his works to record in
from the region of Erzurum, Kars, Artvin,
1965s. He remembers 6 names of 7 records. He
Elazığ, Diyarbakır and Malatya repeatedly.
sang the following Folk songs in the records he
Hulusi Seven was directing Folk Music Choir
did in those days: Hellocan, Palandöken
on the radio in those days. Suat Işıklı and
Dağları, Aşkın Ezeli, Dün Gece Yar
Seyfettin Sığmaz were also the chiefs of choir
Hanesinde, Köylü Kızı, Bana Gül Gönderen
for a short time.
Yar, Kadem Bastı, Dağlarda Çiçek, Almayanı
Raci Alkır won the trainee exam which was (UH), Uzun Avluda Kapılar, O Revanın Ak
made by TRT Erzurum Radio in 1966 and he Yokuşu.
had his staff degree in 1971, then he began to
Alkır recorded a cassette named “Anılar” in
work as a regular performer in the Turkish
1996. Ministry of Culture and Tourism
Folk Choir and he sang his compilation named
organized two divine CDs named Raci Alkır in
“Dün Gece Yar Hanesinde” in the exam.
2002 and Raci Alkır Divine Songs in 2006.
He had an opportunity to meet with masters Thanks to this, he introduced the folk songs
such as Nida Tüfekçi, Mustafa Geceyatmaz, composed from his own compilations to his
Talip Özkan and Ateş Köyoğlu after he entered fans [2].
TRT Institution. He performed music forms
Raci Alkır died in Erzurum on the 16th of
such as lyric, eulogy successfully and he had
December 2011.
admiration of people all around the country.
3. Raci Alkır’s contribution to Turkish folk
He retired from TRT by his own will in
music in terms of being a resource person
1981. He has contributed to TRT repertory
and his compiler side
with nearly 50 of his compilations and he’s
still working on new compilations. Many In this part, it is stated his contribution to
songs that he wrote became famous around the Turkish Folk Music and the identities of his
country and they have been performed by works as a result of the interview made with
hundreds of singers. Besides the songs he him.
himself, he has also performed many folk
46 Folk songs were examined in this part. 37
songs from many regions of the country
of these songs were examined with the title of
successfully and has set an example for young
rhythmic vocal melodies (Kırık Havalar) and 9
generations.
of them free rhythmic vocal melodies (Uzun
After he retired, he continued the concerts Havalar).
which he began during the years in which TRT
3.1. Rhythmic vocal melodies (Folk Songs with
had the monochrome broadcasting. The
a regular tempo-Also called Broken Air)
documentaries that show Raci Alkır’s life are
as an example of his contribution to Turkish 3.1.1. Aşığam Ben Sana. Erzurum region, Raci
cultural life. Alkır says that this song was based on
anonymous music and lyrics and he compiled
Raci Alkır took part in broadcastings about
th them by listening lyrics in Erzurum in 1950s.
12 March, The Independence date of
Erzurum, together with Erzurum Folk Dances 3.1.2. “Atımı Bağladım Nar Ağacına”.
Community in 1950s. He met with Muzaffer Erzurum region. Raci Alkır heard and
Sarısözen in these programs. Since he was composed this work the lyric and music of
concerned about the future of the Erzurum which is anonymous, in 1955. However, he
Radio, he refused both Muzaffer Sarısözen’s could not remember from where and whom he
offer in those days and the offer of Turgut heard it.
Özakman, the manager of TRT, for him to
3.1.3. “Aya Bak Nice Gider (Karakız)”. Raci
work for Ankara or Istanbul Radio. This
Alkır listened and composed this song from
devoted behavior has been told gladly by his
Sebahattin Altınok who sold shirts in Erzurum,
collogues in Erzurum Radio all the time.
when he worked as a tailor. He could
Alkır contributed to the radio and tv remember only the first stanza and he wrote
programs successfully which were organized the lyric himself. Mustafa Hoşsu wrote it down

37
and provided this song to TRT repertory in and music are anonymous after listening to it
1973. from Selahattin Erorhan in 1970s.
3.1.4. “Bade-i Lebinden Nuş Eden Âşık”. 3.1.13. “Dün Gece Yar Hanesinde Yastığım
Erzurum region. Raci Alkır listened and Bir Taş İdi (Tatyan)” This folk song is one of
composed this song based on the lyrics of a the most important works that made Raci Alkır
prominent lyricist Hafız Hakkıoğlu. Its music famous and known by the public as a
is anonymous and its lyric belongs to performer. He first listened to this Tatyan style
Excellency İbrahim Hakkı from Erzurum. folk song from İhsan Öz from Erzurum and
compiled it. In the later years as he couldnt
3.1.5. “Beni Sorma Bana”. Erzurum region.
remember the lyrics apart from first verse he
This divine song the lyrics of which belongs to
compiled it again by adding lyrics to the
Yunus Emre and the music is anonymous, was
second verse which belonged to Haydar
learned and composed by Raci Alkır during the
Telhüner known as “Kemani” and by adding
meeting at his father Şefik Alkır’s home.
lyrics to the third verse which belonged to his
3.1.6. “Bir Bostan Ektim Pazı”. İspir region in father Şefik Alkır. In 1971 Nida Tüfekçi
Erzurum. Raci Alkır said that he listened and brought this work to TRT repertoire whose
learned this song the lyric and music of which music is anonymous.
are anonymous, in İspir from Nusret Ayık in
3.1.14. “Erzurum Kilidi Mülk-i İslamın”. Raci
1962. In the following years he sang it as the
Alkır compiled this folk song whose lyrics
composed form on Erzurum Radio.
belong to Muhammed Lutfî Efendi and music
3.1.7. “Bu Abdal Postudur”. Erzurum Region. is anonymous and whose region is Erzurum,
Raci Alkır composed this song whose lyric after listening to it from Gazelhans from
belongs to İrşadi Baba and music is Erzurum in 1950s. In 1983 Mehmet Özbek
anonymous, by listening Erzurum’s lyric brought this work to TRT repertoire by
tellers in 1950s. notating it.
3.1.8. “Bu Yol Erzurum Yolu”. Raci Alkır first 3.1.15. “Erzurum’un Dağları Görünmez Oldu”.
listened and compiled this folk song, whose Raci Alkır says that he compiled this work
lyrics and music are anonymous and whose whose lyrics and music are anonymous after
region is Erzurum, from Cevat Sağıroğlu who listening to it from Kemani Haydar Telhüner in
was a jeweler in Erzurum in 1960s. 1960s.
3.1.9. “Burç Üstüne Bayrakları Kurdular 3.1.16. “Gel Ey Hanım”. Raci Alkır met an
(Tatyan)”. Raci Alkır listened and compiled Azeri traveller while travelling to Istanbul by
this folk song, whose lyrics belong to Âşık train in 1965. During the conversation Alkır
Ömer and music is anonymous and whose asked Azeri traveller if there was any Azeri
region is Erzurum, in 1950s. song that he knew and Azeri citizen murmured
3.1.10. “Bülbül Bağa Girip Yapmış Yuvayı a lyric such as “Menim Balam Paşmahlarım
(Tatyan)”. This Tatyan folk song’s lyrics and (Ayakkabı) Tehdedir”. The citizen couldn’t
music are anonymous and it belongs to remember the rest of the song so Alkır wrote
Erzurum region. Raci Alkır cant remember lyrics there and compiled this folk song.
where or from whom he heard this song and
3.1.17. “Giden Ay Tutulurmu”. Ankara region.
when he compiled it. Ateş Köyoğlu notated it
Raci Alkır who took part in Ankara Radyosu
and brought it to his repertoire in 1985.
Yurttan Sesler Korosu due to Erzurum’s
3.1.11. “Can Bula Cananını”. Raci Alkır liberation in 12th March, listened to it from
compiled this folk song whose lyrics belong to Orhan Subay, a sedge performer, and compiled
Muhammed Lutfî Efendi and music is it in 1961.
anonymous and whose region is Erzurum, after
3.1.18. “Hakk’a Teslim Olmuşam”. Raci Alkır
listening to it from Gazelhans from Erzurum in
compiled this work whose lyrics and music are
1950s. In 1983 Nida Tüfekçi brought this work
anonymous in 1950s after listening to it from
to TRT repertoire by notating it.
Gazelhans.
3.1.12. “Dertli Doğdum Ben Anamdan”.
3.1.19. “Hakk’ın Kapısında Hakk’ın Aslanı”.
According to the information that Raci Alkır
Raci Alkır compiled this work whose lyrics
gave us he compiled this work whose lyrics

38
and music are anonymous in 1950s after anonymous whose lyrics belong to Celal
listening to it from Gazelhans from Erzurum. Güzel.
3.1.20. “Hani Yaylam Hani Senin Ezelin”. In 3.1.27. “Moğorçur Deresi (Tortum Halayı)”.
1960s there was a theatre show of Erzurum Raci Alkır listened to this song whose lyrics
Folk Dances and Folk Songs Association in the and music were anonymous and compiled it
salon of Public Education Center. In one of the after he heard this folk song from Neşet Güner
parts of the play an anonymous melody known -scrivener- from Tortum district of Erzurum in
as “Gelin Çıkarma Havası” in Erzurum was 1965.
played accompanied by clarinet and
3.1.28. “Narman Kazasında Bir Gelin
tambourine. Sebahattin Bulut who was the
Gördüm”. Raci Alkır who participated in the
director of the play gave a poem to Raci Alkır
festivals of Narman’s liberation in 1960,
and wanted him to read the lyrics with the
listened to this folk song from Zeki Dilek,
melody. Raci Alkır assembles the poem “Hani
Narman’s mayor, and Nazım Karabulut, Oltu
Yaylam Hani Senin Ezelin” and “Gelin
mayor, and compiled it. The music of this song
Çıkarma Havası” and folk song.
is anonymous whose lyrics belong to Sümmani
3.1.21. “Hz. Ali Methiyesi”. Erzurum region. Baba.
Raci Alkır compiled this work with the
3.1.29. “Nefis Sen Ölmezmisin”. Raci Alkır
anonymous music and lyrics in 1950s after
listened to this song whose lyrics and music
listening to it from his father Şefik Bey in
were anonymous and compiled it in 1970s. It is
dervish conference.
one of the works that he couldn’t remember
3.1.22. “İndim Derede Durdum”. Erzurum where, when and from whom he heard this
region. Raci Alkır listened and compiled this song. In 1992 Lütfü Ortakale brought this work
work whose lyrics and music are anonymous to TRT repertoire by notating it.
in 1962 from Ali Balkır from “Doğudan Sesler
3.1.30. “Semadan Sırrı Tevhid-i”. Erzurum
Korosu”.
region. Raci Alkır compiled this folk song
3.1.23. “Kadem Bastı Gönül Tahtı”. Raci Alkır whose lyrics belonged to Kadiri İmam Nuri
listened and compiled this work after listening Efendi and music was anonymous, from
to it from Gazelhans from Erzurum in dervish Bakırcı İbrahim Efendi in 1950s.
conferences. Lyrics belong to Hüseyin Efendi -
3.1.31. “Semaverim Fıkkıldar”. Erzurum
Muhammed Lutfî Efendi’s father-known as
region. Raci Alkır listened and compiled this
Gedâî. In 1971 Nida Tüfekçi brought this work
work whose lyrics and music are anonymous
to TRT repertoire whose music is anonymous.
in 1953 from Aliye Akkılıç.
3.1.24. “Kapıda Kavun Yerler”. Erzurum
3.1.32. “Seni Her Nerede Görsem”. Erzurum
region. Raci Alkır listened and compiled this
region. Raci Alkır listened and compiled this
work whose lyrics and music are anonymous
work whose lyrics and music are anonymous
in 1962 from a friend of his whose name was
in 1960s from Kemani Haydar Telhüner.
Kemal Bey.
3.1.33. “Seyreyle Güzel”. We told earlier that
3.1.25. “Kayalar Buz Bağlamış”. Raci Alkır
as Gazelhans didnt have much knowledge
goes to visit his married elder sister in Yenice
about music, they put different poems and the
village in the Kaman district of Kırşehir in
same music together and they sang it. In these
1945. As his brother in law was a soldier that
dervish conferences, gazelhans sometimes
time Alkır stays there for a year at the age of
sang lyrics that belonged to Muhammed Lutfî
13. In a wedding ceremony while they were
Efendi and sometimes sang lyrics that
showing the bride around he hears this folk
belonged to Kuddûsî Baba with a known
dance and compiles it. In 1984 Erkan Sürmen
music.
brought this work to TRT repertoire whose
lyrics and music are anonymous by notating it. Raci Alkır was able to memorize many
melodies in the form of hymns and gazels
3.1.26. “Maşın Gelir Haralı”. Raci Alkır
which were sang during the meetings of
listened to this folk song which belong to Kars
Naqshbandi Tariqa that he participated during
Region during his participation to the festivals
his childhood with his father. However as he
of Kars liberation from Celal Güzel from Kars
didn’t have the chance to record the
and compiled it. The music of this song is

39
performances at that time, he tried to sing these Tüfekçi and brought to the TRT repertoire in
folks songs without remembering the owners 1978.
of the lyrics and melodies. As a result of these
“Vardım Eşiğine Yüzümü Sürdüm” which also
statements, lyrics of Muhammed Lutfî Efendi
takes place in the book of Salih Turhan, has a
[3] formed the first verse of the folk song Sivas Region variation whose lyrics belong to
“Seyreyle Güzel”and lyrics from Kuddûsî Rıza Tevfik Bölükbaşı, taken from Feryadı
Baba [1] formed the second verse of the folk Hafız Hakkı Bey, compiled by Rıfat Kaya.
song. (Turhan, 2007:58).
While singing this song people didn’t question 3.2. Vocal Melodies With Free Rhtythm
whom it originally belonged and people know
the lyrics that took part in TRT repertoire and 3.2.1. “Benim Ahım Zalimlere Kalmasın”. In
that was notated by Mehmet Özbek in 1983 the play named “Dadaşın Aşkı” organised by
after listening it from Raci Alkır. public education center in 1956, journalist and
writer Hikmet Barlıoğlu gave the lyrics of this
3.1.34. “Su Kasidesi”. Erzurum region. Raci unmetered folk song to Raci Alkır and in a part
Alkır listened and compiled this work whose of this play Alkır sings this folk song with
lyrics belonged to İbrahim Hakkı Hazretleri music which he transcribed fort his song.
and music are anonymous from Hakkı İbrahim
Hakkıoğlu,grandchild of İbrahim Hakkı 3.2.2. “Bi Hürmeti Ya Rab”. Erzurum region.
Hazretleri in 1966. Raci Alkır listened and compiled this work
whose lyrics belonged to Muhammed Lutfî
3.1.35. “Sultan Süleymana Kalmayan Dünya”. Efendi and music was anonymous from
Erzurum region. Raci Alkır listened and Gazelhans from Erzurum in 1950.
compiled this work whose lyrics belonged to
Karacaoğlan and music was anonymous from 3.2.3. “Bingöl Bugün Dumandır”. Raci Alkır
Gazelhans from Erzurum in 1950s. listened and compiled this unmetered folk song
whose lyrics and music were anonymous and
3.1.36. “Tutam Yar Elinden Tutam”. Erzurum which was registered in TRT repertoire, from
region. Raci Alkır heard this folk song whose Hınıslı Necati Kapucu in 1965.
lyrics belonged to Erzurumlu Emrah and
whose music was anonymous in a wedding 3.2.4. “Bir Havar Eyleyin Elden Ellere”. This
ceremony from musician Ağa Dede Keskin is a folk song in free tempo from Erzurum and
who played clarion and from İlhami Uslu who the lyrics belong to Muhammed Lutfî Efendi
played drums in 1975. In order to learn these and it is registered in TRT repertoires. Raci
songs he invited Ağa Dede Keskin to dinner Alkır listened to this song from Gazelhan
and made him sing this folk song several times Hafız Dursun Hakkıoğlu during dervish
and he compiled it by giving it its latest form. conferences in 1950s and compiled it.
In time this song spreads to large masses as his 3.2.5. “Göç Göç Oldu Göçler yola Düzüldi”.
and people’s around him singing this song. This song, registered at TRT repertoire,
Nida Tüfekçi brought this work to TRT became famous with the voice of Raci Alkır.
repertoire by notating it. Its region is Erzurum and its lyrics and music
3.1.37. “Vardım Eşiğine Yüzümü Sürdüm are anonymous. Raci Alkır listened to this song
(Tatyan)”. When he read a poem written on a from Hakkı Bey whom he met in an invitation
calendar page by Rıza Tevfik Bölükbaşı for a in 1965 and compiled it.
wrecked mosque in 1965, Raci Alkır was 3.2.6. “Havayıda Deli Gönül Havayı”. Raci
deeply impressed and he put the lyrics and a Alkır listened and compiled this unmetered
melody he remembered together. Alkır says folk song whose lyrics and music were
that it would be truer to take it as anonymous anonymous and which was registered in TRT
as he put the melodies he remembered and repertoire, from Selami Nevruzoğlu whom he
lyrics together. He presented a number of good met in a wedding in Mördülük Village in
examples for the folk songs in Tatyan style. Erzurum in 1960.
“Vardım Eşiğine Yüzümü Sürdüm” is one of
the songs performed in tatyan style and 3.2.7. “Hozan Dağlar Daşlıdır”. Raci Alkır
became famous with the voice of Raci Alkır. listened and compiled this unmetered folk song
In 1971, this work was notated by Nida from Muharrem Hakkıoğlu in a wedding in
1948.

40
The instrumental part of this song in which
there is a stringed instrument part without
lyrics is called “Dadaş Dinlendirme Havası”.
Salih Turhan brought the unmetered folk song
named “Hozan Dağlar Daşlıdır” to TRT
repertoire and Suat Işıklı brought the
instrumental part called “Dadaş Dinlendirme
Havası” to the repertoire.
3.2.8. “Sakın Terki Edeptendir”. Raci Alkır
heard this song whose region is Erzurum,
lyrics belong to Seyis Nabi and music is
anonymous from Gazelhan Hafız Dursun
Hakkıoğlu in dervish conference in 1950s and
compiled it.
3.2.9. “Yine Bu Derd-i Derunum”. Raci Alkır
heard this song whose region is Erzurum,
lyrics belong to Muhammed Lutfî Efendi and
music is anonymous from Gazelhans in 1950s
and compiled it. Hüseyin Yaltırık who notated
this unmetered folk song, formed in hymn
style, in 2003. And this song also takes place
in the book “Tasavvufî Halk Müziği”
published by TRT [4].

References
[1] A. Doğan, Kuddûsî Divanı, Ankara: Akçağ
Press, 2002.
[2] C. Şengül, Erzurumlu Raci Alkır (His life
and Works), Erzurum: Eser Offset, 2010.
[3] H. M. Lutfî (Müellif), Hulâsatü’l-Hakayık
ve Mektûbat-ı Hâce Muhammed Lutfî,
İstanbul: Efe Hazretleri Foundation, Damla
Press (Press Council: Hüseyin Kutlu, Hasan
Mazlumoğlu and others.), 2006.
[4] H. Yaltırık, Tasavvufî Halk Müziği,
Ankara: TRT Publishing’s, 2003.
[5] S. Turhan, Tatyan Havaları, İstanbul:
Ötüken Publications, 2007.
[6] S. Bulut, Erzurum Folk Dance from
Generation to Generation, Ankara: Retired
Offset, 1984.
[7] S. Bulut, Erzurum Çarşı Pazar, Ankara:
Demircioğlu Press, 1997.
[8] S. Bulut, “Raci Alkır”, Erzurum Folk
Songs, Erzurum: Ministers Media, 2001.

41
Melody characteristics of today’s minstrel
(âşık) music
Hasan Tahsin SÜMBÜLLÜ*
*
Atatürk University Fine Arts Faculty Department of Musical Sciences, Erzurum
[email protected]

Abstract. Several studies have been conducted on minstrels (âşıks: Turkish poet singers) up to date. However,
majority of them are in the field of folk literature.
Minstrels are poet singers reading poems they write spontaneously at the moment of reading accompanied
with a musical instrument (bağlama; Turkish traditional string instrument) in their own melody patterns or those
inherited from their masters or previous minstrels. Minstrels are generally brought up by a master minstrel and
tend to be illiterate itinerants bearing an identity of public artisan. Minstrels express the sociologic, cultural,
economic, political situation of the society they live in and psychology of society and feelings of people towards
some large extended natural events or disasters (like quakes or wars) in a simple manner. In addition, minstrels
function as carrier by performing anonymous melodies and folk songs (türkü) in their provinces.
Turkish folk music (TFM) is fed by two main sources; Minstrels and folk song composers (anonymous or
known people writing both words and melody of a folk song with a fiction mentioning fun or grieve caused by
some events). Minstrels have greater shares and contributions to the formation of TFM repertory. However, there
are terminological differences between conceptual knowledge of TFM and minstrels’ music.
In the present study, it was aimed to determine such terminological problems and evaluate minstrels’ music
living today in terms of work production, manner, melody types, tune, tones, performance manner, types, in-
strument, tempo and prosody.
Keywords: Minstrel (Âşık), Folk Song (Türkü), Turkish Folk Music

1. Minstrel
Several studies have been conducted on min- This tradition is stated to date back to Dede
strels (Turkish poet singers) up to date. Min- Korkut (Korkut Ata; poetic ancestor of Turks)
strel as a term is defined in Arabic to be those [2].
occupying with love or falling in love i.e. lover
When considered their general characteris-
[3], and in Turkish derived from light [1] ento-
tics, minstrels are poet singers reading poems
mologically whose heart burns with love and is
they write spontaneously at the moment of
enlightened by love [5].
reading accompanied with a musical instru-
In Turkic tribes minstrel term is nominated in ment (bağlama; Turkish traditional string in-
different ways. “Altay Turks name Kam, Kırgız strument) in their own melody patterns or
Turks Baksı (Bakşı), Yakutsks Oyun, Tonguz those inherited from their masters or previous
Şaman, Oghuz Turks Ozan [4]. Such nominal minstrels. Minstrels are generally brought up
differences are caused by the situation differ- by a master minstrel and tend to be illiterate
ences of minstrels in the society. itinerants bearing an identity of public artisan.
Minstrels express the sociologic, cultural,
Minstrels are the cultural representatives of a
economic, political situation of the society
nation. Until today the term minstrel has been
they live in and psychology of society and
replaced by other words like Saz Şairi (instru-
feelings of people towards some large extend-
mental poet) [4], Ozan (poet) and Halk Şairi
ed natural events or disasters (like quakes or
(folk poet) [6], Sazlı Ozan (instrumented poet),
wars) in a simple manner. In addition, min-
Çöğür Şairi (instrumented poet) [7].
strels function as carrier by performing anon-
Minstrels are often illiterate, cannot read and ymous melodies and folk songs (türkü) in their
write they have never gone to school for educa- provinces.
tion. They know playing instrument (saz;
2. Contributions of Minstrels to TFM
bağlama) they read their poems accompanied
Repertoire of TRT (Turkish Radio and Tel-
with instrument. Their most important charac-
evision Institution)
teristics is to read poems they write spontane-
ously at the time of speaking and unprepared TRT TFM Repertoire has 4461 anonymous
[1]. folk songs. The number of repertoires is in-

42
creasing consistently by adding the works pre- Work rates of minstrels listed in TRT TFM
sent in the past archive records and newly com- Repertoire are given in Table 2.
piled ones in new repertories.
Table 2. Work rates of minstrels listed in TRT
Table 1 gives the contribution of minstrels to TFM Repertoire
TFM repertory of TRT involving Minstrels f % Minstrels f %
4461anonymous folk songs as reference person. Âşık Veysel
45 19,5 Âşık Beyhani 1 0,4
Şatıroğlu
Table 1. TRT TFM Repertoire reference person Âşık Daimi (İsmail Âşık Dertli
22 9,5 1 0,4
/ratio Aydın) Divani
Âşık Davut Sulari 15 6,5 Âşık Efkâri 1 0,4
Reference people f % Âşık Dursun Cevla- Âşık Erol
11 4,8 1 0,4
ni Ergani
Other people 4048 87,69 Âşık Halil Söyler 10 4,3 Âşık Gülhani 1 0,4
Provincial team 332 7,19 Âşık Veli Aydın 9 3,9 Âşık Haydar 1 0,4
Âşık Haydar
Minstrels 231 5,00 Âşık Ali Tanburacı 8 3,5 1 0,4
Aslan
Anonymous 3 0,06 Âşık Halil Yıldız 7 3 Âşık Hazeri 1 0,4
Written from plaque 2 0,04 Âşık Hüseyin
Âşık Musa Aslan 7 3 1 0,4
Aslan
Total 4616 100 Âşık Hüseyin
Âşık Nesimi Çimen 6 2,6 1 0,4
Çırakman
Totally 66 minstrels contributed to TRT TFM Âşık Sefai (Mehmet Âşık Hüseyin /
6 2,6 1 0,4
Acet) F.Karaduman
Repertoire with 231 anonymous folk songs. Âşık Mahsuni Şerif 5 2,2 Âşık İkrami 1 0,4
Ratio of their contribution is 5% to TRT TFM Âşık Ali İzzet Özkan 5 2,2
Âşık İlyas
1 0,4
Repertoire. This ratio is expected to be higher Güldibi
Âşık Ferrahi 4 1,7 Âşık İmami 1 0,4
when the number of people who are not counted Âşık Şeref Taşlıova 4 1,7 Âşık İsmail Nar 1 0,4
to be minstrel even though they come from this Âşık Ali Kızıltuğ 3 1,3 Âşık Kul Ahmet 1 0,4
tradition and strain and contributed to TRT TFM Âşık Ali 2 0,9 Âşık Meftuni 1 0,4
Âşık Ali Metin 2 0,9 Âşık Mehmet 1 0,4
repertoire with their works. Nevertheless, even Âşık Mehmet
if these people and their contribution are added Âşık Davut Telli 2 0,9 1 0,4
Akça
to the table the ratio does not exceed quarter of Âşık Fikret Ünal 2 0,9
Âşık Naim
1 0,4
Yıldırım
the repertoire. In this respect, the contribution of Âşık Nuri
minstrels to TRT TFM repertoire seems to be Âşık Hasan Ayazma 2 0,9 1 0,4
Çırağı
lower than expected. Âşık İhsan 2 0,9
Âşık Nuri
1 0,4
Şenlik
Among the contributors to TRT TFM Reper- Âşık Mehmet Gü-
2 0,9
Âşık Ömer
1 0,4
lyüz Doğan
toire given in the table, the group “other people” Âşık Mehmet Temiz 2 0,9 Âşık Özlemi 1 0,4
includes other than minstrels are local and pro- Âşık Mümin Mey- Âşık Pehlivan
2 0,9 1 0,4
vincial people like Muharrem Ertaş, Hacı Taşan, dani Dinkçi
Âşık Sait
Hisarlı Ahmet, Çekiç Ali, Neşet Ertaş who are Âşık Nihani 2 0,9
Alioğlu
1 0,4
already accepted to be minstrel and Celal Âşık Sefil
Âşık Süleyman 2 0,9 1 0,4
Güzelses, Abdülvahit Küzecioğlu, Malatyalı Selimi
Âşık Süleyman
Fahri, Faruk Kaleli who are reference people to Âşık Veli Erdem 2 0,9
Elver
1 0,4
Turkish Folk Music and Kadir İnanır, Hamit Âşık Süleyman
Âşık Yanık Mehmet 2 0,9 1 0,4
Çine, Talip Özkan, Soner Özbilen, Şemsi Fahri
Âşık Yaşar Reyhani 2 0,9 Âşık Şakir 1 0,4
Yastıman, Abdurrahman Kızılay, Muharrem Âşık Abdullah Âşık Veli
Akkuş, Nida Tüfekçi, Mehmet Özbek, Arif Sağ 1 0,4 1 0,4
Gülhani Revani
who are artisans. In addition, local people like Âşık Ahmet Başer 1 0,4 Âşık Veli Yaycı 1 0,4
Âşık Ahmet
Bebek İsmail from İmranlı, Sivas, Mevlide Bozdemir
1 0,4 Âşık Yasin 1 0,4
Kayhan from Boğazlıyan, Yozgat and Mehmet Total 231 100
Ali Aydoğdu from Kınık Orhaneli Bursa con-
tributed to compilation works. Totally 231 anonymous folk songs were pro-
Such difference may be thought to be the re- vided to TRT TFM Repertoire by 66 minstrels
flection of the fact that the concept of minstrel is among whom Âşık Veysel Şatıroğlu contribut-
not clearly defined. Therefore, the concept of ed the most to the repertoire with the largest
minstrel should be redefined and the criteria of number of works (45 folk songs) followed by
being minstrel should be determined. Âşık Daimi with 22 works, Âşık Davut Sulari
with 15 works, Âşık Dursun Cevlani with 11

43
folk songs and Âşık Halil Söyler with 10 works. approach. Musical product they produce is
called composed folk song.
Distribution of anonymous folk songs given
by minstrels to TRT TFM Repertoire according Among their general characteristics, min-
to their location is presented in Table 3. strels have the ability of reading spontaneous-
ly. In especially east and north east part of
Table 3. Distribution of anonymous folk songs
Turkey, minstrels have this ability most often.
given by minstrels to TRT TFM Repertoire ac-
cording to their location 3.2. Style
Location f %
Location f %
In minstrel’s music, manner, style and orna-
Sivas 72 31,2 ments may vary from person to person or be-
Erzincan 38 16,5 Azerbaijan 2 0,9 tween locations. Differences like Sümmani
Kars 19 8,2 Kastamonu 2 0,9
Ağzı (style), Azeri Ağzı can elaborate melody.
Kahramanmaraş 11 4,8 Rumeli 2 0,9
Such a situation is caused by rich structure of
Tokat 11 4,8 Sinop 2 0,9
folk music and cultural differences. The same
Amasya 9 3,9 Tunceli 2 0,9
Manisa 7 3 Van 2 0,9
manner differences can be seen in also folk
Şanlıurfa 7 3 Aksaray 1 0,4
music. Due to the differences in manner, tavır
Erzurum 6 2,6 Artvin 1 0,4 and style like Karadeniz (blacksea) folk songs,
Kırklareli 6 2,6 Bilecik 1 0,4 Aegean folk songs, some researchers prefer to
Adana 5 2,2 East Anatolia 1 0,4 use the statement of local Turkish music in
Kayseri 5 2,2 Kerkük 1 0,4 place of Turkish folk music.
Malatya 5 2,2 Konya 1 0,4
3.3. Melody types
Çorum 3 1,3 Northeast Anatolia 1 0,4
Middle Anatolia 3 1,3 Yozgat 1 0,4 It is possible to categorize minstrel’s music
Ardahan 2 0,9 Unknown 2 0,9 according to its melodies as arrhythmic (uzun
Total 231 100 hava), rhythmic (kırk hava) and mixed (karma
hava). In arrhythmic melodies, recitative read-
It is seen when the distribution of 231 folk ing is dominant. In such reading tradition,
songs contributed by 66 minstrels to n TRT rhythm is free but melody patterns bear an
TFM Repertoire is considered according to their inner harmony due to their verbal and wording
location that the largest amount of folk songs structures. Minstrels generally perform the
belong to Sivas province (with 72 works) fol- examples of this types.
lowed by Erzincan with 38 folk songs, Kars with
19 folk songs, Kahramanmaraş and Tokat with Rhythmic (Kırık havalar) include melodies
11 folk songs, Amasya with 9 works. created in convenience with rhythmic under-
standing. In majority, the types like Köroğlu
3. Melody characteristics of minstrel music and Güzelleme (compliment) may be in
3.1. Production of works rhythmic (Kırık) category.

In traditional Minstrel concept, music and Melodic categorisation of minstrel music has
words are complementary parts of each other generally been completed. In Turkish Folk
and it is impossible to think them discreetly. Music concept, such types are also divided into
Minstrels can use masters’ or anonymous melo- subcategories. Rhythmic types include Türkü,
dies and produce works based on composing. Zeybek, Barana Havaları, Güvendeler,
Sometimes minstrels may read their poems by arrhythmic; Baraklar, Bozlaklar, Mayalar,
adjusting the words to previous masters’ pre- Hoyratlar and mixed types are Divan and
pared melodies. Such melodies are called Müstezat. There are conceptual differences
“giydirme” (fitted) melodies. For some min- between Turkish Folk Music and minstrel’s
strels, producing melody is not so important as music.
producing words. Therefore, they do not often 3.4. Maqam (tune)
give priority to melody. For some minstrels,
composing folk song is a requirement and so In general, makam (tune) or style (hava) is
they produce different melodies. Even if words used in the place of melody patterns. The con-
belong to other minstrels, they have and use cept of makam (tune) used by minstrels and
their own melodies and they adopt composing named melody pattern (ezgi kalıbı) is abso-
lutely different from that used in Turkish folk
music. The number of makam (pattern melody)

44
named also like divan, koşma, yolüstü, atüstü, er, there are also various performance manners
zarıncı, nigahi, kerem, yanık kerem, kesik in lines, face to face or collectively.
kerem, Osmanlı divanisi is 157 in Kars province
according to Karslı Âşık Şeref Taşlıova, 216 in
again Kars province according to Fahrettin 3.7. Lyrics types
Kırzıoğlu, 116 in Azerbaijan according to Structure of today’s minstrel music is based
Zeynelabidin Makas while 68 in Erzurum ac- on the types performed conveniently with
cording to Çalmaşur. Melodies described to be
spelling resemblance. These types are ağıt
makam (tune) are pattern melody generally in (mourning), başayak, epopee, divan, leb-
Hüseyni, Uşşak, Gülizar, Çargah, Karcığar, değmez, duvak kapma, geraylı, güzelleme,
Kürdi, Segah, Hüzzam and Hicaz tunes. In place
hiciv (criticism), herbe zorba, hurufat, kalen-
of makam (tune), the concepts given as follows deri, kıta, koçaklama, koşma, muamma,
are suggested; Hava (style), Seyir (trend), Ahenk mühemmes (or muhammes), chess (satranç),
(harmony), Ezgi Kalıbı (melody pattern; Kalıp selis, semai, tekellüm (or tekerleme), taşlama,
Ezgi), Nağme Meydana Getirme (producing
tecnis, üstadname, varsağı, vezn-i aher, vücut-
melody), Gezinme, Örgü Kalıbı, Özel Ezgi name, yanıltma, and yıldız [8].
Dokusu (special melody tissue).
One of minstrel styles (hava) is deyiş (idiom;
Today some minstrels, like Bahri İlhan can
folk poem) sometimes staying out of traditional
produce their compositions in convenience with minstrel school in east and northeast Anatolia
the makam (tune) approach in Turkish music. while in middle Anatolia seen more often from
3.5. Nuances west to east like in Sivas, Tokat, Çorum, Mala-
tya, Tunceli, Maraş, Muş and Erzincan. Deyiş
It is not much possible in minstrel’s music to
is the general name of the melody performed
use nuance, which is an element to emphasize
with instrument, but among Alevi- Bektaşi
musical expression and defined by the terms
Türkmens it should be considered as religious
speed and volume. Some examples of nuances
and sufi music with the same content. Perfor-
may be piano (p-light), forte (f-volume), ritar-
mance of deyiş in bağlama design with accord-
dando (rit.-slowing down in rhythm), acceleran-
ed short – handled bağlama instrument makes
do (accel- speeding up in rhythm). Musical ex-
the work stronger melodically. In addition, a
pression is not shown on notes in Turkish music.
new bağlama playing technique, called şelpe,
Performance is practised. It is a debated matter
using fingers is adapted to this type commonly.
that in Turkish music, nuance terms are not
In the work, fa#, sol, la sounds are often used
shown on notes. Some researchers defend that
consecutively in decision or after suspended
these expressions should take place in western
stops. Hüseyni, uşşak and hicaz maqams are
notation practice, which is the universal note
mostly used in deyiş [8].
writing system while others contradict this view
since present situation can provide musician 3.8. Instruments
freedom and thus resulting in new comments Instrument used mostly by Minstrels is
and performances and is not written in the tradi-
bağlama. The level of instrument playing skills
tion. Even if in minstrel music, the use of musi- among minstrels is not so high since the words
cal expressions is seen in the practice of the are forefront. This level is higher in the areas
work according to melody, minstrels do not such where Alevi-Bektaşi tradition is more com-
a thing consciously. In some minstrel styles
mon.
(hava) like Köroğlu, nuances need to be used
since such styles require using high volume 3.9. Rhythmes
voices due to the heroic content of the works. Minstrels use Turkish music manners con-
But in this instance, the mentioned situation sidering their own local characteristics. Among
continues throughout the work. Nuance terms minstrels producing composed folk song dif-
shouldn’t be confused with each other when the ferent manners can be seen. For example, min-
changes in expression forms are seen. strels in Erzurum province use mostly the
3.6. Performance types manners 4/4, 5/8 and 7/8 while in Kars and
Azerbaijan minstrels use the manners 4/4, 6/8
Performance manner of minstrel music re- and 12/8.
quires solo performance in many cases. Howev-
3.10. Prosody

45
 It is important to know melody patterns and and social media tools. Türkü cafes are thought
use music with words successfully. Otherwise, to be effective in the production of folk song
prosody mistakes seen more often in minstrel by turning into folk song production centres. It
music i.e. discrepancy between music and words is suggested that not only minstrel coffee hous-
will inevitably be experienced. In some melo- es but also folk song cafes should be cared for
dies, words cannot be fitted in melody and the production of folk song.
words are squeezed rhythmically. Such prosodic
References
mistakes are experienced in many performances.
Mistakes in the harmony between the words and [1] Dizdaroğlu, H., Types in Folk Poem, TDK
melody or rhythm may be caused by minstrels’ publishing, Ankara University Publication, Ankara,
deficiencies in musical knowledge or that they 1969.
don’t know formal music rules. Today some of [2] Efendiyev, P., Azerbaijan Şifahi Folk Literature.
minstrels began to have musical knowledge. Maarif Neşriyatı, Bakü, 1992.
They do the notation of their compositions and [3] Kadri, K., Turkish Dictionary, Volume: III,
get their copyright and patent from the associa- TDK publishing, İstanbul, 1943.
tions like MESAM (a copyright institution).
Prosodic mistakes are not seen in their works [4] Köprülü, M. F., Literature Studies -I-, Ötüken
Publications, İstanbul, 1989.
since they do this as a profession to have an
income. [5] Onay, A. T., Form and Type in Folk Poem,
Ofset Press, İstanbul, 1928.
4. Suggestions
[6] Sakaoğlu, S., “Sümmani”, Great Turkish Clas-
It seems to be a requirement that the concept sics, Ötüken Publications, İstanbul, 1989.
of minstrel should be re-considered and -defined
[7] Sakaoğlu, S., Various opinions on the concepts
and the criteria of being minstrel should be re-
of “Ozan, Âşık, Saz Şairi and Halk Şairi”, in Turk-
evaluated according to today’s conditions. Such ish Folk Music (Salih Turhan), Publications of
an evaluation should be considered according to Ministry of Culture, Ankara, 1992.
the rate of production and there should be a dif-
ference between minstrels who compose or [8] Şenel, S., “Minstrel Music”. Islamic
transfer folk songs and those not. For the first encyclopedia (Volume: 3), Religious Foundation of
Turkey Publications, Ankara, 1991
group an alternative title should be given like
folk song yakıcı (folk song composer) or public
artisan.
The use of the term maqam (tune) in naming
minstrel melodies causes conceptual and termi-
nological problems. From this point of view, it
is thought that minstrel melodies should be de-
scribed using the concepts like Hava, Seyir,
Ahenk, melody pattern (Kalıp Ezgi), producing
Nağme, Gezinme, Örgü Kalıbı, special melody
tissue (Özel Ezgi Dokusu) in place of the term
makam (tune).
Today, it is a debated matter whether minstrels
should be reference people or not for the pro-
duction of folk music works. Even though min-
strels provide considerably important contribu-
tions to cultural sustainability by voicing their
masters’ works, in terms of the production of
musical works (folk song), Türkü Yakıcılar (folk
song composers) play more active roles in com-
posing folk song. In this respect, a change in the
roles in the concept of minstrel may be required
and desired. For the musical work production,
composed folk songs of composers (yakıcı) can
easily be accessed through mass communication

46
Harmonization studies in Turkish Music: the
samples of Kürdi and Hicaz Tune lines
Ali Korkut ULUDAĞ*
*
Ataturk University Fine Arts Education Department Musical Education Division
[email protected]

Abstract. Present study was conducted to determine which methods and techniques students used in
education system prepared for the polyphony of Turkish music works in modern harmony system to
write accompaniment. The study was conducted with the participation of guitar – piano students
chosen among those attending Atatürk University Kazım Karabekir Education Faculty Music
Education Division based on individual voluntariness using single group pre and post - test group
model. Experimental operation process lasted for 5 weeks. Students conducted harmonization works in
Kürdi and Hicaz tune lines. As the data collection tool, literature review, (gradual scoring key for
students’ skills of accompaniment GSKSSA) and questionnaire form to obtain the opinions of
specialists. Central trend measures, skewness, flatness coefficients were calculated and Kolmogorov-
Smirnov Test was applied to determine if the data show normal distribution. After positive results
were obtained from this test, dependent groups t – test application was conducted to determine
whether there is a statistically significant difference between pro and post test scores of students.
When the results of the study are evaluated in a complete way, it may be stated that education system
prepared by the researcher increased the accompaniment skills of students significantly. In this
respect, the difference between pre and post test scores was determined to be in favor of post test
scores.

Keywords: Turkish music, harmonization, tune, guitar, piano

1. Introduction
Polyphonic applications in Turkish music From technical perspective, Turkish Music is
field are among most debated in literature. Such a monophonic but multi-fret horizontal music
studies have achieved several stages until type however, western music is polyphonic but
reaching at this level. In polyphonic works in has less fret vertical. However, it does not mean
Turkish music, Turkish folk melodies were that these two types of music can never be
used. Polyphonic trials prepared generally in combined at any circumstances [1]. It is the
the forms of books and post graduate theses main point that polyphony to be created should
take mainly into consideration hüseyni tune bear its original pattern. When local pattern is
line. lost traditional structure is also destroyed and
some other musical structures are obtained [12].
Traditional Turkish music have been
The most important of all is that an art form to
produced in society throughout centuries and
conserve traditional values, national elements,
used in a great enjoyment and come to date.
nobility and cultural vividness should be
Due to such characteristics, turning traditional
constructed [2]. There is no doubt that
Turkish music works into polyphony requires
traditional music types should not be ignored
taking loads great responsibility [3]. In order to
but conserved. Polyphonic Turkish Music
carry diversity and richness in our music culture
should be seen to be a process where music
to universal scale present studies should be
culture will turn out to be open to international
improved qualitatively and quantitatively [13].
arena [6].
We should bear in our minds that we first have
to know and evaluate our art to develop it [16]. Turkish Music has tried to be blended with
polyphony beginning from late 19th century

47
which was counted to be a criterion of being 2. Method
contemporary. Hüseyin Sadettin Arel defended
This section involves the data about the
that Ottoman/Turkish Music should also be
model of the study, work groups, data
treated with polyphony which is a requirement
collection tools, analysis of main data and
of a modern nation’s art in addition to its
experimental operation.
traditional performance in monophonic way
[10]. Arel has contributed greatly to harmony 2.1. Study model
education in Turkey through his studies, books
Pre and post-test experimental design among
and students in addition to several terms used at real experimental models was used in the study.
present [17]. Following him, Kemal İlerici In the model without control group, study group
wrote a book Turkish Music and Harmony and
is determined before the study and a test is
advanced the topic [9]. given to the subjects before the experiment and
Throughout the history, various unique lines their success status is determined. After the
have been used in east and west music. Such experiment, groups are tested again and the
lines with the names of mode, tone are the effect of the experiment is determined
products of a music system [15]. It is required according to the difference between two tests
not to conflict line and tune [11]. In traditional [8]. In this test, experimental process is tested
Turkish Music, the concepts of tune and line are on only one group. Measurements related to
not the same things. Line is a concept showing subjects’ dependent variables are conducted
voices and frets included in a tune while tune as through the same tools and on the same subjects
a concept tells traditional uses of line voices as pre and posttest. In the method, significance
[14]. As can be seen, tune and line as concepts of the difference between pre and post- test
are very different from each other in meaning values belonging to only one group is tested [4].
and content [7]. Application of the method may last for a 5 –
week period.
Outlines of the study were constructed
through accord blocks with the content of 2.2. Study group
modern harmony used in the lines of kürdi and Study group involves 25 (n=25) BSc students
Hejaz tune. In experimental operation process,
chosen among those attending Atatürk
main works chosen to be studied for its University Kazım Karabekir Education Faculty
harmonization includes the lines in muhayyer Music Education Division.
kürdi and Hejaz tunes. Accord blocks used in
the works were shaped by students through 2.3. Data collection tools
different figure samples and these works were In the study, as the data collection tools,
generally harmonized through a simple tissue literature review and questionnaire form to
form. Students conducted their accompaniment obtain the opinions of specialists were used.
works through piano or guitar voluntarily.
In order to obtain content validity of forms
1.1. Problem sentence two specialist teaching staff was asked to give
To what extent the students can write their opinions. Before the analysis of pre and
accompaniment for the works in the context of post test scores, scaling questions related to
education system prepared for Turkish Music gradual scoring key were determined as follows.
poly-phonation class? Are the subjects able to 1. use accurately the
rules of modern harmony system 2- write
1.2. Sub problems
correctly the symbolic shapes of accords 3-
1. Is there a statistically significant difference move accords closely to each other 4- drop the
between pre- and posttest scores of students’ voice between accords at the same place 5- use
skills of accompaniment with Turkish Music accord cycles correctly 6- make lateral
works? movements between the accords 7- write
suitable accord walking with the work 8- use
2. What are the pedagogic materials
figure samples accurately 9- write
containing polyphonation prepared for Turkish
accompaniment rhythm patterns conveniently
Music field?
with the work 10- provide the combination of
the work and accompaniment.

48
2.4. Data analysis From Table 2, data are accepted to show
normal distribution (p>.05). Normality
For the analysis of the data, SPSS 20 software
hypothesis was met when considered the result
package was used. In order to determine the
of the analysis. Parametric tests were used in
type of tests to be used in the analyses
the analysis of the data. Dependent groups t –
normality hypotheses were tested. Central trend
test was conducted to determine whether there
measures, skewness, flatness coefficients were
was a statistically significant difference
calculated and Kolmogorov-Smirnov Test was
between pre and post test scores of students’
applied to determine if the data show normal
skills of accompaniment with Turkish Music
distribution.
works by adjusting significance level to 0.05.
Central trend measures, skewness, flatness
2.5. Experimental process grades
coefficients are given in Table 1.
At the first grade of the experimental process,
Table 1. Central trend measures, skewness,
students conducted a harmonization works on a
flatness coefficients are given in
Turkish Music work they wanted. They
Test n:25 arranged the work based on their experience
Average 12.9 they gained before experimental process. At the
Median 12.00 beginning stage of the study, students
Pretest Skewness .357
conducted no study. Accompaniment work they
Skewness standard .46
did is also pretest stage of an experimental
error
work. Students were also responsible for the
Flatness -.471
same work at posttest stage. These works are
Flatness standard error .902
the ballads called “Kütahya’nın Pınarları and
Average 81.82
Çay Elinden Öteye”.
Median 84.00
Skewness -.251 Works conducted in the scope of the study are
Posttest
Skewness standard .464 as follows;
error
2.5.1. First week
Flatness -.548
Flatness standard error -.902 A free accompaniment was conducted to
determine students’ level of experiment in
musical background and their success levels.
It is seen when considered Table 1 that
average and median of the distribution are close 2.5.2. Second week
to each other in both pre and post - test. As Stage 1. Line of La Kürdi tune is given
these three values are getting closer to each below.
other, the distribution is closer to normal
distribution [5]. Skewness coefficient of the
distribution is for pretest is 357 and that of
flatness is -,471 in pretest; while -.548 and -
.902, respectively in posttest. It is accepted to Figure 1. line of La Kürdi tune
be a criterion that the coefficient of skewness
Stage 2. Pausing and walking voices on the
and flatness is between -1 and +1. From this
line of La Kürdi tune are shown below
point of view, data are convenient with normal
discreetly and together.
distribution characteristics. At last, for the
normality hypothesis, Kolmogorov-Smirnov
Test was conducted and the results are given in
Table 2.
Table 2. Results of Kolmogorov-Smirnov Test Figure 2. . Pausing and walking voices on the
related to normality of the distribution line of La Kürdi tune line
Kolmogorov-Smirnova
Test n Z p 2.5.3. Third week
Pretest 25 .668 ,764
posttest 25 .701 .710 Introduction of accords with modern harmony
system to be used on the line of Kürdi tune
accompanied by a ballad.

49
 Harmonization work of the ballad prepared by Harmonization work of the ballad prepared by
the researcher called “İki Keklik Bir Kayada the researcher called “Zülüf Dökülmüş Yüze” is
Ötüyor” is given below. In this part of the study, given below.
the same accord blocks were used on Turkish
Folk melodies belonging to Kürdi and
Muhayyer Kürdi tunes.

Figure 3. harmonization work of the ballad

called “İki Keklik Bir Kayada Ötüyor”
(Arrangement: Ali Korkut ULUDAĞ).

2.5.4. Fourth week

Stage 1. Line of La Hicaz tune is given
below.

Figure 6. Harmonization of a ballad called

Figure 4. Descendant and Riser Studying on “Zülüf Dökülmüş Yüze” (Arrangement by Ali
La Hicaz Maqam Line Korkut ULUDAĞ).
Stage 2. Pausing and walking voices on the
line of La Hicaz tune are shown below 3. Results and Discussions
discreetly and together. In this section, the results of dependent
groups t – test scores related to the difference
between pre- and post – test scores and their
polyphonic works on Turkish Music take place.

Figure 5. Pausing and walking voices on the Dependent groups t – test was conducted to
line of La Hicaz tune line determine whether there was a statistically
significant difference between pre and post test
2.5.5. Fifth week scores of students’ skills of accompaniment
Introduction of accords with modern harmony with Turkish Music works and the results are
system to be used on the line of Hicaz tune given in Table 2.
accompanied by a ballad.

50
3.1. Results of the first sub- problems Yurt Renkleri 1 Album Kutluk
Comparative analysis of the books Gökhan 2012
Table 2. Results of dependent groups t – test involving the application of four Yalçın
harmony system
related to the difference between students’ pre
and posttest scores
Test n  SS df t P
Table 5. Proceedings
Pretest 25 12.90 3.12 Title Author Year
24 -55.497 .000
Posttest 25 81.82 7.13 Polyphonic Matter Sadi Yaver 1988
Ataman
According to Table 2, the difference between Polyphonic works in traditional Ruhi Ayangil 1988
the pre and post test scores of the students’ music types
Polyphonic works in traditional Ertuğrul 1988
skills of accompaniment with Turkish Music music types Bayraktar
works is statistically significant (t=-55.497; Polyphonic works in traditional Necati 1988
p<0.05). Mean scores of students related to music types Gedikli
Polyphonic works in traditional Fırat Kızıltuğ 1988
their accompaniment skills are 12.9 for pretest music types
and 81.82 for posttest. According to such Polyphonic works in traditional Cüneyt 1988
results, teaching method prepared by the music types Pakdemir

researcher in the scope of Turkish Music

polyphonation class are said to increase
Table 6. Theses
students’ skills of accompaniment significantly.
Title /Type Author Year
3.2. Results of the Second sub problem A Study On Polyphony Of S. Ercan Bağçeci 1996
Educational Songs In Modal
Different polyphonation studies are given Style By Means Of Fourth
below carried out in Turkish Music field among Harmony System
A study on polyphonic in Turkish Uğur Türkmen 1996
which are books, articles, proceedings and Folk Music through Kannon and
theses. imitation
Evaluation of Polyphonic concept Adnan Koç 1996
Table 3. Books in Turkish folk music
Kemal İlerici his life, works and Gülen Ada 2001
Title Author Year contributions to musicology Tanır
Four – system Harmony Kemal İlerici 1945 The Usage of the scales about the Aytekin Albuz 2001
Pentatonism in Turkish Folk Music Ahmet Adnan 1988 tone system of traditional Turkish
Saygun Music in viola teaching and the
Tanpereman in Turkish Music Nail 1997 polyphonic approaches about this
Yavuzoğlu system
Four – harmony in contemporary Necdet 1998 Determining the basic differences Işıl Bursa 2005
Turkish Music Levent between traditional and quartal
Polyphonic Method in melodies in Necdet 1998 harmonization systems used in
Turkish and western music Levent Turkish music while practicing
Turkish Music tune lines Muammer 1998 polyphony and their place in
Sun music education
A summary of Kemal İlerici’s Ertuğrul 1998 Comparison between Turkısh Erdal Oral 2006
Harmonic Line Bayraktar classıcal music and the jazz
Four Harmony and its application in Tevfik Tutu- 1999 music
Turkish Music Bahadır Tutu Theoretical experiences on Ali Akaçça 2008
Turkish Music Harmony for Nail 2000 polyphony ın Turkish music
Tanpere instruments (unpublished) Yavuzoğlu Ahmet Yesevi Oratorios with Tolga Karaca 2011
Polyphonic applications and İlerici Atilla Sağlam 2001 four harmony System
Harmony in Turkish Music Characteristics Turkish folk Fatma Erkılıç 2011
Table 4. Articles music in Ahmet Adnan Saygun’s
Piano Works
Title Author Year Turkish five’s Polyphonation Gökçe Ağ 2013
Sound system in traditional Turkish Cihat Can 2002 method of Turkish Folk Music Karcebaş
Art Music Arel-Ezgi-Uzdilek sound Works
system and some frets not used in
practice
Polyphonic Debates in Turkish Uğur 2003 4. Conclusions and suggestions
Music Türkmen
Views of teaching staff at university Betül 2009 As the result of experiments, a statistically
in viola teaching in Turkish Music Demircan/Ayt
lines about the functionality of the ekin Albuz significant difference was obtained between
studies based on tune content pre- and posttest scores of students (t=-55.497;
Polyphonic approaches in Turkish Aytekin 2011 p<0.05). Mean scores of participants given for
Music Albuz
Harmonic Analysis of Piano works Gökhan 2012 their skills of accompaniment with Turkish
taking place in Muammer Sun’s Yalçın/Özer Music works were 12.9 at pretest and 81.82 at

51
posttest. It is seen when the results are taken Kongresi Bildiriler, Kültür ve Turizm
into consideration as a whole that students’ Bakanlığı, Ankara, 1998.
skills of accompaniment developed through the
[4] Büyüköztürk, Ş., Sosyal Bilimler İçin Veri
technique used in the study aiming to solve
Analizi El Kitabı, Pegem Akademi, Ankara,
technical problems in Turkish Music poly-
2011.
phonation class.
[5] Can, A., SPSS ile bilimsel araştırma
Effectiveness of teaching system prepared by
sürecinde nicel veri analizi, Pegem
the researcher and high motivation presented by
Akademi Yayıncılık, Ankara, 2013.
the participants during the application process
made the study more meaningful. Students [6] Demirci, B., Viyolonsel için Türk müziği
utilized modern and mixed harmonic system dizileri, Ankara: Pegem Akademi, (2013).
accord programing works more often. Students’ [7] Ekici, S., Türk Halk Müziğinin Melodik
deficiencies in experimental operation process Yapısının Adlandırılması Konusunda
related to nominalization and symbolization of Düşünceler, Akademik İncelemeler Dergisi,
accords were removed majorly in the last weeks
cilt.4, sayı. 1, (2009): 21-33, Sakarya, 2009.
of the study.
[8] Kaptan, S., Bilimsel Araştırma Ve İstatistik
Suggestions developed for the study are as Teknikleri, Tekışık Web Ofset Tesisleri,
follows:
Ankara, 1998.
With such studies; [9] Kızıltuğ, F., Geleneksel Müzik Türlerinde
1. Similar research can be conducted over Çokseslilik Çalışmaları, Birinci Müzik
different teaching systems and experimental Kongresi Bildiriler, Kültür ve Turizm
working models and work groups. Bakanlığı, Ankara, 1998.
2. Opinions of teaching staff may be taken [10] Özkoç, Ö., Hüseyin Sadettin Arel’in
into consideration when conducting and Çokseslilik Üzerine Olan Düşünceleri ve
planning such studies. Prelude İsimli Eserinin İncelenmesi,
Hacettepe Üniversitesi, Sosyal Bilimler
3. Such applied works can be given place in
Enstitüsü, Kompozisyon, Koro ve Orkestra
the classes like harmony contrpoint
Şefliği Anasanat Dalı, Yüksek Lisans Tezi,
accompaniment and education music
Ankara, 2012.
composing techniques.
[11] Öztuna, Y., Büyük Türk Musikisi
4. Student centered working methods like
Ansiklopedisi, Başbakanlık Basımevi, c.2,
collaborative learning in such applied studies
Ankara, 1990.
can be used.
[12] Pakdemir, H,C., Geleneksel Müzik
5. Diversity of figure samples used in
Türlerinde Çokseslilik Çalışmaları, Birinci
accompaniment works can increase.
Müzik Kongresi Bildiriler, Kültür ve
6. Such harmonization works with modern Turizm Bakanlığı, Ankara, 1998.
and mixed content can be turned into book
[13] Parasız, G., Keman Öğretiminde
through systematic methods.
Kullanılmakta Olan Çağdaş Türk Müziği
Eserlerinin Seslendirilmesine Yönelik
Olarak Oluşturulan Hazırlayıcı
References
Alıştırmaların İşgörüsellik ve Etkililik
[1] Albuz, A., Türk Müziğinde Çokseslilik Yönünden İncelenmesi, Gazi Üniversitesi,
Çalışmaları, Sanat ve Tasarım Dergisi, vol. Eğitim Bilimleri Enstitüsü, Güzel Sanatlar
1, (2011): 51-66, Malatya, 2011. Eğitimi Anabilim Dalı, Ankara, 2009.
[2] Ataman, S.,Y., Çokseslilik Meselesi, [14] Say, A., Müzik Sözlüğü, Müzik
Birinci Müzik Kongresi Bildiriler, Kültür Ansiklopedisi Yayınları, Ankara, 2002.
ve Turizm Bakanlığı, Ankara, 1998.
[15] Sun, M., Türk Müziği Makam Dizileri,
[3] Bayraktar, E., Geleneksel Müziklerimiz ve Sun Yayınevi, Ankara, 2004.
Çokseslilik Çalışmaları, Birinci Müzik
[16] Tura, Y., Türk Musikisinin Meseleleri, Pan
Yayıncılık, İstanbul, 1998.

52
[17] Yalçın, G., Hüseyin Sadettin Arel’in
Armoni Kitaplarındaki Armonik ve
Terminolojik Yaklaşımları, Rast
Müzikoloji Dergisi, cilt. 1, sayı. 2, (2013):
1-16, Tokat, 2013.

53
Establishment aim and present situation of the
institutions giving professional music
education in Turkey
Koray Çelenk*
*
Atatürk University Fine Arts Faculty Department of Musical Science
[email protected]

Abstract. Turkish Republic has been founded on especially cultural bases. Emerging from the Atatürk’s
opinions about music, new regulations were adopted during the first years of Republic on culture and arts and
new steps were forwarded to create modern society. Among the most important steps is the foundation of
educational institutions aiming to develop music and musical education.
Music education started in Turkey during Ottoman period and went on with new and contemporary works
after the establishment of Turkish Republic. In the development process of music and its institutional structure,
with the changing educational policies in Turkey, institutions giving professional music education were
combined under different roofs by considering their aims.
When considered the present situation of such institutions, it may be stated that institutions giving
professional music education (IGPME) involve Conservatories, Education Faculties, Music Education
Departments, Fine Arts Faculties, (Music-Musical Sciences, Music Technologies, Turkic Music and Basic
Sciences), Fine Arts-Design-Architecture Faculties (Music, Music Technologies, Turkic Music) and Music and
Performing Arts Faculties. Even though the aims of all these institutions may differ from each other, it is seen
based on their present conditions and profiles that they undertake different missions from their objectives.
From this point of view, present study was conducted using a descriptive method, reviewing related literature
and collecting and classifying data in a systematic order. The aim of present study is to mention about historical
development process of IGPME and to what extent they function their roles conveniently with their service and
establishment aims by considering their aims and to shed light on the related problems.

Keywords: music, music education, professional music education

1. Introduction
Education is a concept continuing from the affairs and innovations [16]. Education is the
birth to death of an individual. In education combination of all desired processes where
process, individuals get in touch with their individuals develop valuable skills, attitudes
surrounding and learn many good and new and behaviours the society in which they live
things. Some of the things learned in this gives importance. It is also a social efficiency
process may happen in their natural and process ensuring optimum individual
environment while others occur in the areas development under the influence of a selected
predetermined willing and in a planned way. In and controlled environment (especially school)
a general definition, education is a process [8].
where individuals cause deliberate and willing One of the most important processes where
changes in their behaviours through their own individuals develop their behavioural patterns
life [6]. Education is the most fundamental related to skills is music. All humans are born
structure based on individuals and it aims to equipped with their unique characteristics in a
prepare individuals for life by causing them to certain society, grow up and complete their
acquire required knowledge, skills and development by being matured in the culture of
behaviours in their development process. In this society.
order to achieve a basic and good working
education structure, it is required to continue In order for humans to live healthily in the
this structure in a planned and programmed way society in which they are born, they must
together with cultural concepts by monitoring absolutely meet their physiological (feeding,
consistently developing and changing global protecting), social and psychological (loving,

54
being loved, belonging to a group) needs in a Professional music education has passed
balanced way [15]. One of most important certain stages from Ottoman empire period to
needs may be music. In its simplest meaning, date. In such a long process, several institutions
music is an aesthetical entirety made up of were established to give such an education and
voices processed with certain aims, in a method these institutions underwent some changes.
and according to a certain beauty understanding Even if they changed they had an establishment
[21]. aim at the beginning. In especially modern
Republic period, IGPMEs changed to include
Music is a very important concept since it is
Turkic and Classical Music Conservatories,
either an education tool or field. Concepts and
Music Education Departments of Education
applications like education through music,
Faculties, Fine Arts Faculties, (Music-Musical
education with music and musical education
Sciences, Music Technologies, Turkic Music
show that music is an effective and efficient
and Basic Sciences), Fine Arts-Design-
way of education. Other concepts and
Architecture Faculties (Music, Music
applications such as education for music or
Technologies, Turkic Music) and Music and
education at music can make music an
Performing Arts Faculties. Establishment aims
important educational field [21].
of all these institutions differ from each other.
In Turkey, music education is applied as one Conservatories were established to carry a
subdivision of art education. Art education mission of growing up musicians and
appeals basically to individuals who try to meet composers while Music Education Departments
their creative instincts and aesthetic needs and music teachers and musicology departments
develop enjoyment feeling and be more music researchers in the country. However, in
sensitive to real world they live in through today’s practices, these institutions undertake
artistic activities and interactions. From this different missions from their establishment
point of view, art education plays a significant aims.
role in the development of individual’s
From this perspective, in the present study,
cognitive and psychomotor sides and especially
problematic situation is the determination and
affective feature [21].
evaluation of to what extent IGPMEs serve in
Music education is a development or convenience with their establishment aims
changing process where individual acquires today in Turkey.
certain musical behaviours in a conscious and
2. Method
aimed way through his/her life style,
experiences changes and advancement in A descriptive method was adopted in the
his/her musical behaviours [22]. According to study. By reviewing related literature, headlines
another definition, music education is a process of the study were determined in a systematic
where individuals come together and shape way. In such a systematic, institutional
their mental and physical characteristics and structure, transformation processes and aims of
form their musical personality [5]. IGPMEs were determined beginning from
Ottoman empire to date and today’s institutions
In Turkey, music education is categorised
were also defined by using data base of Turkish
into 3 groups; general music education,
assessment selection and placement centre
volunteer music education and professional
(ÖSYM) and a table was drawn based on the
music education. General music education is
type of branches by considering their present
given all students at primary, secondary and
conditions.
high schools while volunteer music education
can be given to those who want to learn music 3. Findings
unprofessionally by public training centres or 3.1. Music Education in Ottoman Period
private music courses and professional music
In Ottoman period before Republic, the state
education is demanded by people desiring to
may be said to be governed by people in the
learn music professionally or willing to choose
palace, scholars, and soldiers. Official works
music or any branch of music as a profession
were carried out by public officers at lower
and given by the responsible institutions at
hierarchical levels of the state. When the
universities.
distribution of responsibility and authority of
these units is taken into consideration, they are

55
stated to be religious, justice, and educational Apart from the categories above, Enderûn
works undertaken by scholars, executive works school and Conscript boys school (elementary
conducted by officers and feoffees and timariot army school) belonged to palace and army [13].
soldiers. Education system in that term was
In this reforming age, Akkaş categorised
based on ottoman elementary-primary schools
Ottoman official music education institutions
(sibyan schools) and madrasahs [18].
into groups as other schools like ottoman
Two types of music were seen in Ottoman elementary-primary schools (Sibyan schools),
period by the beginning of 19th century; folk Madrasahs, Enderûn schools (palace schools)
music and Ottoman art music. After 1826, and Tabılhâne [2].
western music was added in these types. In
Such categorisation was also offered by Uçan
Ottoman period, music completely interacted
for music education like; In Ottoman period
with the areas where it lived. From this point of
(1299-1920/1922), general music education was
view, music types can be summarised as
given in primary and secondary schools based
follows;
on religious rules more often in ottoman
1. Palace and hall music, elementary-primary schools (Sibyan),
2. Religious music Madrasahs and Enderûn schools; volunteer
a. Music in mosques and masjids music education was in palace, lodges,
3. Dervish lodge and sect music performing teams or ceremony units and certain
4. Military music halls and pavilions; professional music
5. Music belonging to occupational education was more in Mehterhâne (army
organisations bands) and a department of Enderûn school
6. Educational music functioning as conservatory Enderûn Music
a. Madrasah music School and Dârü’l-Huffâz and Dârü’l-Kurrâ in
b.Enderûn practical music addition certain lodges” [23].
7. City entertainment music
As can be seen, in Ottoman time, IGPMEs
Such categorisation was valid until 19th were categorised into certain groups as follows.
century and after that Ottoman music turned
3.1.1. Institutions Giving Music Education
into a new form [12].
based on Religious Rules: Sibyan
Even though education philosophy was Schools, Madrasahs and Mevlevîhânes,
directed to a certain target after 16th century in
Sibyan schools functioned primary education
the West, Ottoman empire followed this change
in Ottoman education system. Madrasahs were
late. However, Ottoman empire had once
adopted in Turkic education system after Turks
sovereignty in 3 continents due to its superiority
accepted Islam as religion and madrasahs had
over other nations in administrative, army,
grades from primary education to higher
weapon and organisational force and the most
education [10]. Even though Sibyan school and
importantly educational system it had which
madrasah education had no direct music
included broader aspects than that of other
education program they taught music indirectly
states. Ottoman empire understood through
[2].
several historical events that arts, social and
applied sciences developed after Renaissance in In Sibyan schools and madrasahs, reading
the West could not be omitted and tried to adopt holly Quran and Ezan in a tune and melodic
the changes in the West first in army and other way was very important [23].
institutions. With these reforming attempts, Mevlevîhânes (Mevlevî houses) were also
education took 2 forms. important sources of Ottoman music life. Semâ
1. Based on religious rules, dance and music were two important bases of
a. Sibyan schools these schools due to Mevlâna’s doctrines.
b.Madrasahs Due to religious and musical rituals accepted
2. Western like education,
in many praying activity of Mevlevîs, some
a. Army and technical expertise schools members of this lodge desired to be musicians
b.General education institutions and so Mevlevî houses gave music lessons in
addition to the rules of their houses [19]. This
music education system adopted practice

56
method and it was a teacher centred method. In by Turkish teachers but when they failed,
this education system, not only performance but Manguel was appointed to be the chief of the
also theoretical knowledge was taught. As the band. Following Manguel, in 1828, İtalian
result of such student-teacher relationship, Guiseppe Donizetti overtook the duty. When
student learnt his teacher’s behaviour and this İtalian composer started to work, the first
sustained their practices [4]. serious work also started in Muzıka-yı
Hümâyûn. Donizetti first taught members of the
3.1.2. Military Music Education Institutions:
band the Hamparsum notes which the majority
Tabılhâne, Mehterhâne and Muzık!-yı
of the members knew. Following it, he prepared
Hümâyûn
a new note system matching the old and new
Tabılhâne and Mehterhâne are the synonyms voices in the notes. After teaching porta, he
of the same institution, which is the oldest army taught students western music notes through the
band of the world. table he draw. This system was the first
Drum and flag, the symbols of sovereignty of application of modern western notes in Turkey.
He then tried to solve problems related to
Turkish rulers continued to be used in Turkic
states after the adoption of Islam. The name plying instruments and developed an education
“Tuğ” in Great Seljuk’s Empire turned out to be system based on performance. The desire to
show the new band with high performance
Tabılhâne and Nevbet and then in Ottoman
Peirod Mehter Music [18]. capability to Sultan as soon as possible caused
the development of such an education system.
“Mehter candidates were educated in Education was confined to teaching notes and
Enderûn and selected new comer students at simplified Italian harmony such condition went
Galata, İbrahim Paşa and Edirne Palaces came on until early 20th century [7].
here and were called “Şâkirdan”. They were
distributed to Grand, Seferli, Chiller and After the declaration of 2nd Constitutional
Monarchy, Saffet Bey was appointed to be
Treasure Rooms but not permitted to go Has
Oda (room of sultan). They were educated like Muzıka chief and a new and more serous term
students at Enderûn and sent to places where started. By knowing the educational
deficiencies of Muzıka, Saffet Bey started to
they were needed [14].
work remove and correct them. In this term,
Students began their education with manner. regulations were prepared to make rules for the
They were divided in groups and went on selection of students and promotion of staff
education required by these groups; shrill pipe, [20].
pipe, nakkare (small drum), cymbal, drum, and
kös (large scale drum) [19]. Students accepted to Muzıka started music
education using a string instrument and were
Since rhythm is important students first tried then directed to various ones depending on their
to play mehter düdük in a rhythmic and abilities. Students receiving a careful and
synchronic way and were then taken to other disciplined education related to their
instrument groups based on their abilities [20]. instruments were also given bona, music
After Ottoman Sultan Mahmud II closed theory, piano, violin, harmony, musical
Guild of Janissaries in 1826, Mehterhânes were punctuation and music history. After the
also closed. In the scope of reform works, Guild appointment of Saffet Bey as chief, the band
of Janissaries was turned into a new army abandoned Italian style and then passed to
called Asâkir-i Mansûre-i Muhammediye and French method. Saffet spent efforts for the band
this western type army needed a western type to develop in orchestral form and increased its
band thus causing the establishment of Muzıka- symphony repertory [20].
yı Hümâyûn, modern Ottoman army band [7]. After the foundation of Turkish Republic,
On closing Mehterhâne in “1826, Sultan Muzıka-yı Hümâyûn and Turkish musicians
Mahmud II invited musicians from İtaly to form were transferred to Ankara and employed in
a military music system and in 1827, Muzıka-yı Turkish Presidency.
Hümâyûn was established. In order to meet the
need of human resource at this new band
talented youths were taught modern instruments
at Enderûn. The first education tried to be given

57
3.1.3. IGPMEs: Enderûn, Dârü’l-Bedâyî, Enderûn survived until the middle of 19th
Dârü’l-Elhân century, but as the result of western reform
activities, it lost its importance and functions
In the first years of Ottoman state, Turkish
and then was closed in 1908.
people adopted settled lifestyle by giving up
nomad culture and thus needing army, regular Dârü’l-Bedâyî is an institution established by
official staff and arts branches. For that reason, mayor of Istanbul in 1914 and involved theatre
Enderûn, palace school, was founded. and music departments in its body. Famous
Foundation of this school is said to be based on French artist Andre Antoine was appointed to
Murat II, where great statesmen, craftsmen and the head position of theatre department while
scientists grew up. administration of music department was given
to Ali Rıfat Bey. At music department, Turkic
Foundation aim of Enderûn was to make
and classical music were decided to be taken
talented Christian children to be statesmen and
together. Music department of the institution
soldier [3]. Children picked up from various
serving for a short time on Turkic and Western
parts of the country were brought first to Edirne
museum was closed in 1916 due to war.
palace and then Topkapı palace and met in front
Academic music education works sustained in
of Divân-ı Hümâyûn (executive board of the
1917 in Dârü’l-Elhân opened by Ministry of
Empire). Children were put in order according
Education. This school is also the first private
to their characteristics and sent to schools at the
music school established in Ottoman period.
Palace [14].
[20].
Enderûn students were classified in
Dârü’l-Elhân, opened by General Ministry of
categories depending on their abilities and each
National Education on 1 January 1917 was first
class was called the name of the room they
official music school. Regulation of school was
stayed; 1-Büyük Oda (grand room), 2-Küçük
prepared by a commission with the chair of
Oda (small room), 3-Doğancılar Odası (room of
Yusuf Ziya Paşa. The efficiency of the school
falconers), 4-Seferli Odası (room of soldiers
constructed in an area seeming to be safe in the
who going campaign), 5-Kiler Odası (chiller
1st World War Period was impacted by the war
room), 6-Hazine Odası (treasure room), 7-Has
conditions and had to work under limited
Oda (special room to Sultan) [1]. Students did
resources. Dârü’l-Elhân did not give
all the needed things in those rooms. Length of
dominantly Turkic music education and
the education time changed from 2 to 4.
classical music classes are also given in the
Teaching was conducted in two ways
study [20].
theoretical and practical. Students started their
education downstairs and then went upstairs Total education time was 5 years. The first
[18]. year was preparation class. After the
completion of preparatory class, students were
Musical education was conducted at
divided into categories and these categories
Enderûn, in Grand and Small rooms until the
were given the classes such as theory, solfege,
construction of Seferli Room. The real room
instrument knowledge, music history and
where musical education was given is seferli
composition and performance classes.
room. Students for this room were selected
Instrument lessons are divided into two
among picked up children with musical ability.
categories Turkic and classical type music,
Classes were given by those in Enderûn liking
which are reed flute, tambour, kemancha (kit),
music from hazine and has oda in addition to
violin, lute, qanun and psaltery (Turkic
those hired and coming from the outside of the
instruments) and Piano, cello and flute
palace [20]. After the detection of youths liable
(classical music instruments) [14].
to arts, they were given to masters to become
both instrument and voice expert. Students Dârü’l-Elhân was closed in convenience with
learned all the details of music and became the decision National Education Ministry on 22
experts. They attended two times Fasl-ı January 1927.
Hümâyûn at Topkapı palace to benefit from the
In addition, from the 2nd Constitutional
things given to them [14]. Education took 14
Monarchy to the Republic, in also the
years and students at Enderûn could not get
associations founded by music lovers at that
married until 30 years old, have a moustache
time, performance, note education, solfege,
and stay at the palace [18].

58
theory and instrument lessons were given Mızıkası and after the declaration of Republic
voluntarily. Some important foundations of that on 3rd March 1924 and abandonment of
time were Dârü’l-Mûsikî-i Osmâni, Üsküdar Caliphate, it was transferred to Ankara with the
Mûsikî Cemiyeti (music association), Dârü’l- name of Riyâset-i Cumhur Mûsikî Heyeti
Feyz-i Mûsikî, Dâruttaalim-i Mûsikî Mûsikî-i (Music Group of Presidency) on 27 April 1924.
Osmâni Mektebi, Gülşen-i Mûsikî, and Şark This group was composed of Müezzinan, Fasıl
Mûsikî Cemiyeti. team, orchestra and band divisions. According
to new administration understanding,
3.2. IGPMEs in Republic Period
müezzinan division was closed due to lack of
It is possible to concentrate on three functionality. In 1933, the group was divided
establishments for music education in the into two parts, Riyâset-i Cumhur Filarmonik
Republic period; Dârü’l-Elhân and Muzıka-yı Orkestrası (Philharmonic Orchestra of
Hümâyûn heritage from Ottoman Empire and Presidency) and Riyâset-i Cumhur Band (Band
Mûsikî Muallim Mektebi (music teacher of Presidency). After the death of Atatürk in
school) founded in the Republic period. 1938 the division of fasıl was closed. After that
Riyâset-i Cumhur Filarmonik Orkestrası was
Dârü’l-Elhân was the first conservatory and
changed into Cumhurbaşkanlığı Senfoni
music school in Turkey. There were two
Orkestrası (Presidential Symphony Orchestra)
departments at the school West and East Music
in 1957 and Riyâset-i Cumhur Bandosu was
in the Institution which tried to be reformed
into Kara Kuvvetleri Armoni Mızıkası
after the Republic. In 1923, Western Music
(Terrestrial Army Harmonic Band) in 1963 [2,
Department was opened. In 1927, Eastern
17, 23].
Music Department was closed. The institution
changed its name in 1926 to be İstanbul The most important step in the republic
Conservatory. By making new regulations in period related to music education is the opening
teaching, the name of the institution was of Mûsikî Muallim Mektebi (Music Teacher
changed in 1927 into İstanbul Municipality School), which was first aimed to bring up
Conservatory. With this development, the teachers but later on undertaking the function of
department where Turkic Music division was bringing up musicians and then the institution
closed turned directly into the conservatory of was divided into two parts as conservatory and
western music [9, 10]. music teaching departments.
City orchestra, city choir, which also formed The institution was then shaped in 1924 and
Turkic Art Music and folklore association, grew 1925 to include 1-year preparatory and 4-year
up large number of musicians. In time, theatre education directly related to teaching music. In
and ballet dance were also added in the 1931 restructuring, education time was
activities in addition to music. The name of elongated to 6 years. In 1934 and 1935
Municipality Conservatory was later changed restructuration, the institution was taken from
into Istanbul University State Conservatory in secondary school and given to higher education.
1986 and taken over YOK (Council of higher In 1936 restructuration, a breakthrough was
education). Conservatory was structured to be experienced and conservatory classes were
an occupational school in middle size giving opened in the body of the Institution and then
theoretical and applied education. Teaching the first western type conservatory of Turkey
staff was composed of domestic and was established in the Institution Ankara State
foreign music experts and theory makers. Conservatory. After 1936, the institution took
Closing of oriental music division, direction to over its duties to the conservatory related to
western music, modernising education system growing up musicians and in 1937-1938
completely, closing of lodges which are the restructuration, it turned out to be a department
main sources of Alaturca Music are closely in the body of Gazi Secondary Teacher School
related to reform developments in each field and Education Institute by transferring to Music
and national culture policies [9]. Department. In 1974-1975 and 1978 shaping, it
was given the name of Gazi Education Institute
Muzıka-yı Hümâyûn was conserved after the
Music Department and turned into 3 and then 4-
abandonment of Sultanate on 1st Nov 1922
year higher education institute. In 1980, it was
since the Caliphate was still present but its
turned into Higher Teacher School status from
name was changed into Makâm-ı Hilâfet
educational institute and ultimately since 1982

59
it has been an establishment in the body of certain aims. These aims can be sequenced under
university [23]. three line as bringing up music teachers,
composers, musicians, technologists, and
The aim of this institution established on 1
researchers. From the beginning to date, the
November 1924 was to bring up music teachers
institutions established to achieve these aims are
for high schools, secondary schools and teacher
Education i.e. Fine arts education and music
schools as written in the first item of the
education departments, Conservatories, Music
regulation of Mûsikî Muallim Mektebi (music
and Performing Arts Faculties Fine Arts
teacher school) published in 1925. In the
Faculties music and music sciences departments.
second regulation in 1931, it was stated that
Mûsikî Muallim Mektebi was a school opened 3.3. Present Situation of IGPMEs
to bring up music teachers for high schools and
According to Uçan, musicians grow up at
secondary schools. The code prepared in 1934
music departments at Music and Performance
related to National Music and Representative
Arts Faculty and State Conservatories, musical
Academy caused the establishment of
scientists come from Fine Arts Faculties and
Representation Academy with the aims of
Musical Sciences and Musicology departments
forming, developing and broadcasting national
of state conservatories, musical technologists
music in the country based on scientific
from Instrument Production department of State
principles, bringing up quality elements at
conservatories, music teachers and trainers are
every branch of stage performance, bringing up
from educational faculties, the departments of
music teachers. Establishment aims of
fine arts education departments [23].
institution carrying on its education activity
with the name of Gazi Education Institute However, today, IGPMEs involve Turkic and
Music Branch were declared in 1970 with the Classical Music Conservatories, Education
decision 537 of Training and Education Faculties, Music Education Departments, Fine
Department related to Gazi Education Institute Arts Faculties, (Music-Musical Sciences, Music
Music Department Curricula to be in the first Technologies, Turkic Music and Basic
item to bring up music teachers guiding their Sciences), Fine Arts-Design-Architecture
surroundings, managing music education, Faculties (Music, Music Technologies, Turkic
teaching music lessons at secondary and Music) and Music and Performing Arts
occupational schools [24]. Faculties. Other institutions than music
education departments especially those related to
In 1940, with a Code related to State
fine arts embody the department related both to
Conservatories, music and representative
music teaching and conservatories.
branches were separated from each other. Music
branch included composition and orchestra Conservatories are the institutions aiming to
directorate, piano, org, Arp; string instruments; grow up musicians (voice-instrument),
wind and percussion instruments and singing sub musicologist, music technologist, composer,
branches. Such an attempt constituted the and orchestra or choir chief and offer scientific
beginning of contemporary musician education. and executive approaches to music. Education
In addition, in 1975, Istanbul Turkic Music State Faculties Music Education Departments did not
Conservatory was established to give Turkic go beyond their aims beginning from the first
music education. In 1982, these institutions were Music Teacher School which include growing
taken over to YOK and given the names State up music teachers needed by National
Conservatories of Ankara, Hacettepe University, Education Ministry at primary, secondary and
İstanbul Turkic Music and İstanbul Technical high schools.
University Turkic Music.
It is seen when considered fine arts and
In 1975, Fine Arts Faculty music department related faculties that these institutions
was established in the body of Aegean structured to combine artistic activities carried
University and started education in the first year. out in different fields turned out to be the units
The aim of this department was to meet embodying branches with the same functions as
scientific research need [10]. conservatories to grow up musicians or music
teachers. Such a condition has caused the
As can be seen, after the foundation of
deviation of these institutions from their main
Turkish Republic, all the institutions established
aims determined in 1975.
related to professional music education had

60
 In addition, the decision of YOK for 17
Marmara University -Atatürk Education
4 50
Faculty
pedagogical formation to be given to Muğla Sıtkı Koçman University -Education
18 4 30
conservatories and fine arts faculties in a Faculty
Necmettin Erbakan University -Ahmet
compressed program caused another conflict 19
Keleşoğlu Education Faculty
4 40
and complexity among IGPMEs. 20 Niğde University -Education Faculty 4 40
Ondokuz Mayıs University -Education
21 4 31
Decision of YOK in Turkey is as follows. Faculty (TR and North Cyprus TR citizens)
22 Pamukkale University -Education Faculty 4 30
In 2011-2012 education and teaching term, 23 Trakya University -Education Faculty 4 30
24 Uludağ University -Education Faculty 4 40
20 % of the contingent of pedagogical
formation certificate programs permitted to be 25 Yüzüncü Yıl University -Education Faculty 4 30

carried out at the Turkish universities is left for

the programs needed by National Education
Ministry; i.e. Guide Teacher, Preschool Table 2. Conservatories in Turkey
Teaching, English Teaching, Religion Culture Conservatories Branches
Education Contingent
Time
and Ethics Knowledge, Technology and Opera, Choir and
Adıyaman University
Design, Primary School Teaching, Turkish 1
–State Conservatory
Popular Music 4 24
Singing
Language and Literature Teaching, Primary Guitar 4 5
School Teaching for Mentally Disabled, Music Akdeniz University - Wind and
Teaching, Mathematic Teaching; the rest 80% 2
Antalya State
Conservatory (TR
Percussion
instruments
4 11

of the contingent is left for other branches and North Cyprus Piano and Arp 4 5
TR citizens) Turkic Music 4 20
decided on by Training and Education String instruments 4 10
Council’s decision no 80 and from 2012-2013 Wind and
education and teaching term Pedagogic A.Kocatepe
Percussion 4 5
instruments
Formation certificate Program is decided to be 3 University -State
Piano and Arp 4 15
Conservatory
carried on for the branches needed by National Turkic Music 4 50
String instruments 4 15
Education Ministry [25]. A.Menderes Piano and Arp 4 5
4 University -State
String instruments 4 10
With this decision, out of music teaching Conservatory
department, fine arts and conservatories have Guitar 4 4
Music 4 10
the right of growing music teachers. Wind and
Percussion 4 15
Distribution of IGPMEs in Turkey is given in Instruments
Anadolu University - Piano and Arp 4 12
tables below. 5
State Conservatory Singing and
4 15
Opera
String instruments 4 15
string instruments
Table 1. Music Education Departments in production 4 5
repairing
Turkey musicology and
Ankara University - 4 6
composition
Music Teaching Education Contingent State Conservatory
6 Piano and Arp 4 15
time (TR and North
Singing and opera 4 21
A.İbrahim Çeçen University –Education Cyprus TR citizens)
1 4 40 String instruments 4 44
Faculty
Atatürk University –
2 A.İzzet Bay. University -Education Faculty 4 30
7 Turkic Music State Basic Sciences 4 -
3 A.Menderes University -Education Faculty 4 40 Conservatory
4 Aksaray University -Education Faculty 4 40 Composition and
Atatürk University -K.Karabekir Education 4 10
5 4 40 music Theory
Faculty Başkent University -
Opera, choir and
Conservatory (no
Balıkesir University -Necatibey Education 8 popular music 4 21
6 4 40 scholarship, 25% and
Faculty singing
full imbursement)
7 Cumhuriyet University -Education Faculty 4 30 Piano and Arp 4 7
Çanakkale Onsekiz Mart University - String instruments 4 5
8 4 30 Singing and opera 4 10
Education Faculty
Dokuz Eylül University -Buca Education Bülent Ecevit String instruments 4 10
9 4 31 9 University -State String instruments
Faculty (TR and North Cyprus TR citizens)
10 Erzincan University -Education Faculty 4 40 Conservatory production 4 5
repairing
11 Gazi University -Gazi Education Faculty 4 50
Wind and
Gaziosmanpaşa University -Education
12 4 25 Çukurova University Percussion 4 24
Faculty
-State Conservatory Instruments
13 Harran University -Education Faculty 4 40 10
(TR and North Piano and Arp 4 6
14 İnönü University -Education Faculty 4 30 Cyprus TR citizens) Singing and opera 4 20
Ktü-Fatih Education Faculty (TR and North String instruments 4 21
15 4 51
Cyprus TR citizens) Dicle University - Voice education 4 20
M.Akif Ersoy University -Education 11
16 4 30 State Conservatory Basic Sciences 4 20
Faculty

61
12 Dokuz Eylül Composition 4 4 Piano and Arp 4 10
University -İzmir Wind and Wind and
State Conservatory Percussion 4 21 Kafkas University - Percussion 4 5
Instruments 28
State Conservatory Instruments
Piano and Arp 4 12 Turkic Music 4 40
Singing and opera 4 20 String instruments 4 5
String instruments 4 20 Guitar 4 7
Ege University - Instrument Composition 4 5
Turkic Music State production 4 14 Music 4 10
13 Conservatory (TR repairing Kocaeli University - Wind Instruments 4 5
and North Cyprus Voice education 4 22 State Conservatory Wind and
TR citizens) Basic Sciences 4 71 29
(TR and North Percussion 4 10
Fatih University - Cyprus TR citizens) Instruments
Conservatory (no Piano and Arp 4 6
14 Turkic Music 4 20
scholarship and full Turkic Music 4 12
imbursement) String instruments 4 22
Fırat University - KTU-State
15 Basic Sciences 4 20
State Conservatory Conservatory (TR
30 Music 4 21
Instrument and North Cyprus
Gazi University - 4 20
education TR citizens)
16 Turkic Music State
Music 4 20
Conservatory
Voice education 4 20 Composition 4 2
Gaziantep University Voice education 4 52 Wind and
- Turkic Music State Mersin University - Percussion 4 15
Conservatory (day State Conservatory Instruments
17 and night time (TR and North Piano and Arp 4 12
Basic Sciences 4 53 31
education (TR and Cyprus TR citizens) Singing and opera 4 21
North Cyprus TR String instruments 4 15
citizens) Composition 4 10
Gaziosmanpaşa Music 4 20
18 University -State Turkic Music 4 15 M.Sinan Güzel Snt.
Wind and
Conservatory University -İst. State
Percussion 4 16
Giresun University - 32 Conservatory (TR
Instruments
19 Music 4 45 and North Cyprus
State Conservatory Piano and Arp 4 15
TR citizens)
Guitar 4 4 Singing and opera 4 13
Composition 4 8 String instruments 4 16
Music 4 20 Niğde University -
Hacettepe University
Wind and 33 Turkic Music State Turkic Music 4 40
-Ank. State
Percussion 4 27 Con.
20 Conservatory (TR
Instruments Okan University -
and North Cyprus
Piano and Arp 4 9 Conservatory (no
TR citizens) 34 Music 4 30
Singing and opera 4 16 scholarship, 50% and
Chief 4 5 full imbursement)
String instruments 4 20 Ondokuz Mayıs
Instrument 35 University -State Music 4 30
Haliç University - 4 34
education Conservatory
Conservatory (no
21 Instrument Sakarya University - Basic Sciences 4 15
scholarship, 50% and 36
production 4 22 State Conservatory Turkic Music 4 15
full imbursement)
repairing Selçuk University - Singing and opera 4 11
Harran University - Dilek Sabancı State
22 String instruments 4 6
State Conservatory 37 Conservatory (TR
Piano and Arp 4 10 and North Cyprus Turkic Music 4 20
İnönü University -
23 Turkic Music 4 15 TR citizens)
State Conservatory
String instruments 4 10 Wind and
Trakya University - Percussion 4 20
İpek University -
State Conservatory Instruments
Conservatory 38
(TR and North
(English) (no Piano and Arp 4 21
24 Music 4 34 Cyprus TR citizens)
scholarship, 50%, 75 String instruments 4 20
% and full Composition 4 5
imbursement) Wind and
İskenderun Technical Uludağ University -
Percussion 4 9
University -Mustafa State Conservatory Instruments
25 Music 4 25 39
Yazıcı State (TR and North
Piano and Arp 4 3
Conservatory Cyprus TR citizens)
Turkic Music 4 10
Guitar 4 10 String instruments 4 10
Composition 4 4 Yıldırım Beyazıt
Music 4 15 40 University - Turkic Turkic Music 4 30
Wind Instruments 4 12 Music State Con.
İst. University -State Wind and Yüzüncü Yıl
Conservatory (TR Percussion 4 20 University - Turkic
26
and North Cyprus Instruments 41 Music State Con. Turkic Music 4 60
TR citizens) Piano and Arp 4 21 (Day and Night time
Singing and opera 4 21 education)
Percussion
4 4
Instruments
String instruments 4 27
Composition 4 10
İTU Ist. Turkic Mus. Music 4 35
27 State Con. (Turkish Music
4 20
and English) Technologies
Chief 4 30

62
Table 3. Fine Arts Faculty in Turkey
Universities with Fine
Arts Faculty
Branches
Education
time
Contingent As can be seen in tables, Music Education
1 Akdeniz University Music 4 25 Departments aim only to grow up music
2 Ardahan University Basic Sciences 4 30 teachers, conservatories involve several
Atatürk University - departments and aim to grow up musicians,
3 (Day time – Night Music 4 60
time education) composers, researchers, technologist and chief.
Batman University - When considered fine arts faculties, they have a
4 (Day time – Night Music 4 60
time education) mixed aim in today’s condition and they grow
Cumhuriyet Music 4 20 up both teachers and musicians.
University - (TR and
5 Music
North Cyprus TR 4 21
citizens)
Technologies 4. Results and suggestions
Çankırı K.Tekin Music
6
University - Technologies
4 15 In Turkey, institutions giving music
Dokuz Eylül Music 4 15 education were established suitably with their
University - (TR and
7
North Cyprus TR
Music
4 11
targeted aims from Ottoman time to Turkish
Technologies
citizens) Republic and to date. Three main institutions
Music 4 20
8
Erciyes University
Turkic Music 4 10
whose establishment and development were
9 Kırıkkale University Music 4 35
transferred to this time in especially republic
10 Kocaeli University Music 4 10 time are Music Education Departments,
11 Marmara University Music 4 15 Conservatories and Fine arts faculties, Music
Nevşehir University and Music sciences departments. When
12 -(Day time – Night Music 4 50
time education)
considered the establishment aims of these
13
Süleyman Demirel
Music 4 20
institutions, it is seen that Music Education
University
Departments aim only to grow up music
teachers, conservatories were established to
Table 4. Music and Performing Arts Faculties carry a mission of growing up musicians and
in Turkey composers while musicology departments
music researchers in the country. However,
Universities hosting music and Education
performing arts faculties
Branches
time
Contingent today, establishment aims of these institutions
İ.Doğramacı Bilkent seems to conflict with each other.
University - (Piano, String
instruments, wind
instruments and percussion
Music Education Departments aim only to
1 Music 4 30
instrument, singing, theory grow up music teachers while in conservatories
and composition)
(nonscholarship and full and fine arts faculties students can get
scholarship) pedagogic formation and so they are pushed out
Music 4 60
2
Ordu University (Day time –
Turkic
of their basic establishment aim. In Music
Night time education) 4 40
Music Education Departments formation is given in a
Music 4 -
Pamukkale University -(Day
Musicology 4 -
4-year period while in other departments it is
3 time – Night time education)
Turkic
4 -
given in a very shortened program and such a
Music
situation is expected to reduce the quality of
music education.
Table 5. Fine Arts-Design and Architecture Apart from Fine Arts faculties, Fine Arts-
Faculties in Turkey Design and Architecture faculties have also
Universities hosting Fine Arts music departments with the same function as
Education
– Design and Architecture Branches
time
Contingent conservatories and music education. Such a
faculties
1 Düzce Univ. Turkic Music 4 20 formation causes a deviation for these
İnönü Univ. (Day time –
Music 4 30 institutions from their main aims.
2 Music
Night time education) 4 30
Technologies Opening of more and more IGPMEs in the
İstanbul Medipol
3 University (25%, 50% Turkic Music 4 40 country increases the size of music teachers’
and fully imbursement) and other artists’ employment problem.
Karabük University Music 4 25
4
Safranbolu F. Toker Fine
Arts – Design and Turkic Music 4 40
It is thought that in Turkey IGPMEs
Architecture faculties should function in convenience with their
Yaşar University (25%,
5
50% and fully
Music 4 30 establishment aims. Therefore, music
6 Yıldız Teknik University Music 4 20 teaching should be left Music Teaching

63
Department including pedagogical [10] Kavcar, C., Cumhuriyet Döneminde Müzik
formation education and related Eğitimi [Bildiri], I. Türk Müziği Kurultayı,
Eskişehir İ. T. İ. A. İletişim Bilimleri Fakültesi,
departments of fine arts faculties should be 20-23 Ekim 1981: 16-26.
reformed in convenience with their main
[11] Kaya, Y. K., İnsan Yetiştirme Düzenimiz,
establishment aims.
Politika-Eğitim-Kalkınma, 6. Baskı, Pegem
Related departments of fine arts faculties Akademi Yayıncılık, Ankara, 2015.
conflicting with each other are suggested to [12] Kaygısız, M., Türklerde Müzik, Kaynak
have more accurate and consistent curricula Yayınları No:317, İstanbul, 2000.
like in other professional music education [13] Koçer, H. A., Türkiye’de Modern Eğitimin
institutions. Doğuşu, Uzman Yayınları, Ankara, 1987.
It may be suggested that conflicting [14] Özalp, N., Türk Mûsıkîsi Tarihi, I.Cilt, Meb
departments like Fine Arts Faculty Music Yayınları No:3109, İstanbul, 2000.
and Musical Sciences, Musical Technology, [15] Öztürk, M., Öğretimi Planlama-Uygulama ve
Basic Sciences and Turkic Music can be Değerlendirme, Bizim Büro Basımevi, Ankara,
withdrawn from the body of these 2007.
institutions and combined in conservatories [16] Parasız, G., Keman Öğretiminde Kullanılmakta
already hosting them in their body. Olan Çağdaş Türk Müziği Eserlerinin
Seslendirilmesine Yönelik Olarak Oluşturulan
In a broader meaning, it may be Hazırlayıcı Alıştırmaların İşgörüsellik ve
suggested that all the fields can be Etkililik Yönünden İncelenmesi, Gazi
combined under a musical faculty. Üniversitesi Eğitim Bilimleri Enstitüsü,
Doktora Tezi, Ankara, 2009.
References
[17] Say, A., Müzik Sözlüğü, Müzik Ansiklopedisi
[1] Akdeniz, İ., Türk Mûsıkîsi’nde Enderûn’un Yeri Yayınları, Ankara, 2002.
ve Önemi, Atatürk Üniversitesi Güzel Sanatlar
[18] Temiz, E., Türkiye’de Cumhuriyet
Fakültesi Sanat Dergisi, 4 (2003): 63-67.
Döneminden Önce Kurulan Resmi ve Gönüllü
[2] Akkaş, S., Türkiye’de Cumhuriyet Dönemi Müzik Kuruluşları, e-Journal of New World
Kültür ve Müzik Politikaları (1923-2000), Sciences Academy, vol.5, 4 (2010): 324-332,
Sonçağ Yayınları, Ankara, 2015. http://www.newwsa.com/download/gecici_mak
ale_dosyalari/NWSA-1445-4-7.pdf.
[3] Akyüz, Y. K., Türk Eğitim Tarihi, İstanbul
Kültür Yayınları, İstanbul, 1997. [19] Tezbaşarır, A., Mehter Tarihi Teşkilatı ve
Marşları, Berksoy Basımevi, İstanbul, 1975.
[4] Başer, F. A., Tahrir-ü Tahririyye Işığında
Mevlevî Ayini Formu, Uluslararası Düşünce ve [20] Toker, H. ve Özden, E., Osmanlı Devleti’nde
Sanatta Mevlâna Sempozyumu, Rumi Yayınları, Müzik Eğitimi Veren Önemli Kurumlar, Rast
Konya, 2006. Müzikoloji Dergisi, Cilt.1, 2 (2013): 107-128.
[5] Demirci, B., 2006 İlköğretim Müzik Dersi 6. [21] Uçan, A., İnsan ve Müzik-İnsan ve Sanat
Sınıf Öğretim Programı, Öğretmen Kılavuz Eğitimi, Müzik Ansiklopedisi Yayınları,
Kitabı ve Öğrenci Çalışma Kitaplarının Kurtuluş Matbaası, Ankara, 1994.
Uygulamadaki Görünümüne Yönelik
[22] Uçan, A., Müzik Eğitimi, Müzik Ansiklopedisi
Değerlendirilmesi, Gazi Üniversitesi Eğitim
Yayınları, Adalet Matbaası, Ankara, 1997.
Bilimleri Enstitüsü, Doktora Tezi, Ankara, 2009.
[23] Uçan, A., Müzik Eğitimi Temel Kavramlar-
[6] Ertürk, S., Eğitimde Program Geliştirme,
İlkeler-Yaklaşımlar ve Türkiye’deki Durum,
Yelkentepe Yayınları, Ankara, 1972.
Evrensel Müzikevi, Ankara, 2005.
[7] Gazimihal, M. R., Türk Askeri Mızıkaları Tarihi,
Maarif Basımevi, İstanbul, 1955. [24] Yayla, F., Üniversiter Yapı İçinde Müzik
Öğretmeni Yetiştirme Sistemi [Bildiri], Ulusal
[8] Good, C., Dictionary of Education, Mc Graw- Müzik Eğitimi Sempozyumu, Pamukkale
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Müziği, Cumhuriyet’in Sesleri, Tarih Vakfı [25] URL-1: YÖK Formasyon Kararı, 2016.
Yayınları, İstanbul, 1999. http://www.memurlar.net/haber/205969/2.sayfa

64
A study on the determination of the use
status of Turkish music works in cello
education

BarışDEMİRCİ*
*
Atatürk University Kazım Karabekir Education Faculty Department of Fine Arts Education Music Education
Division
[email protected]

Abstract. This study is a descriptive study which is aimed to collect the views of the teaching staff to determine
the use status of traditional Turkish music works in cello education. In convenience with the aim of the study,
answers of some questions were sought related to teaching programs the cello teaching staff apply to their
students including the use and performing status of traditional Turkish music works in cello education and the
problems seen in performance processes. Then, general status of traditional Turkish music was evaluated
considering music education department cello education processes. Population of the study includes all cello
teaching staff at Education Faculty Departments of Music Education at universities in Turkey and the study
group is composed of those who participated in the study. Interview method was used to collect data, which was
analysed through content analysis. Some suggestions were proposed considering the results of the study.

Keywords: Instrument education, cello education, traditional Turkish music

1. Introduction

Culture is the combination of the place in life from the first day of humans on the
characteristics of a society shaped by traditions, earth. Art is a fact revealing the potentials and
values and life styles in the formation and structure of a society and reflecting the cultural
development process of the same society. These formation, development and evolution
characteristics shape the identity of a society, processes [5].
reflect on the lifestyles of individuals and are
dropped to generation next through interaction. Based on Atatürk’s principles like
In the manifest of World Culture Policies modernisation in art culture, nationalism in
Conference organised by UNESCO (1982), core, simplicity and understandability in form,
culture was defined in a broad range to be a uniqueness in expression, contemporariness in
whole composed of apparent concrete physical, method and universality in quality [14], Turkish
psychologic, mental and emotional music culture started a modernisation and
characteristics defining a society or a group and universalisation process by conserving its core
a matter of fact including not only science and structure, in the intellectual direction of
literature but also life styles, basic human westernisation. Just as what Atatürk thought,
rights, values, traditions, and beliefs [9]. Art, future of Turkish music founded on an identity
one of the components of culture has taken base with contemporary, national, universal

65
was determined under the structuration of Involving the richness of Turkish music in
Atatürk’s dynamism and thoughts [1]. Only instrument education programs offers
through this attempt, future may belong to those possibility to students to know Turkish music
who conserve their own national identity and works by performing and handing them in
without omitting it, respect for other identities the generations next. It will be a good approach
as much as yours and are compatible with to increase the number of (inter)national studies
universal values and formations [10]. especially on the performance of traditional
Turkish music works and the problems
It is seen when looked into today from the experienced in their teaching processes.
past of Turkey that significance of art is
focused in order to be a modern society and
attempts and improvements tried to be realised 1.1. Traditional Turkish music teaching
to develop art. Such advancements affected also processes in cello education and the relation of
music art directly. What was experienced in western music pitch system
music education in Ottoman period,
acquirements and experiences shed light also on Cello education taking place in instrument
Republic period and music education process education processes is involved in the body of
gained acceleration. In this process, institutions the mentioned institutions at upgrade education.
serving for professional music education were They continue their programs using both
founded and started to perform their duties classical western music and Turkish music. At
related to education in different structures and the institutions like conservatories and
aims. education faculties music education
departments where instrument education is
These institutions are State Conservatories, given based heavily on classical western music,
Turkish Music State Conservatories, Old contemporary polyphonic Turkish music
Turkish Music State Conservatories, Fine Arts examples are performed and repertory
Faculties, Musical Sciences and Music containing verbal and instrumental examples in
departments and Education Faculties traditional music types are arranged for several
Departments of Fine Arts Education Music instruments including cello.
Education Divisions.
Değirmencioğlu and Ararpgirlioğlu stated
Each institution giving music education that modal cello education was started for the
follows a certain program. Even though their first time at İstanbul Technical University
programs are different from each other they Turkish Music State Conservatory in 1976 and
have several common lectures. One of these today nearly all Turkish Music State
subjects is instrument education including main Conservatories carry out this education. In
and individual instrument. addition, from an institutional perspective, in
nearly 35 – year history of modal cello
Instrument education is the process where education, as in other Turkish music
individual combines and shapes mental and instruments, in cello education traditional
physical characteristics and ultimately forms a Turkish music verbal and instrumental work
musical personality. Parasız stated that repertoire is used [4].
individual instrumental education can enable
students to play their instruments in accurate It is seen when technical elements and pitch
and correct technique, plan and apply playing systems (half tone with 12 equal intervals) in
time effectively, express their music culture in classical western music instrument education
the best way through instrument and conduct processes are taken into consideration that the
works to increase their musical skills [13]. problems expected to be experienced in cello
teaching programs and education processes
In the body of aforementioned institutions, based on the simultaneous application of modal
instrumental education processes involve both education based on pitch system taking place in
traditional Turkish music works with their Turkish music concept (24 - fret Arel-Ezgi-
original structures and contemporary Turkish Uzdilek-24 AEU) and polyphonic Turkish
music works by adjusting or arranging music or classical western music education are
traditional ones in a polyphonic way. the subject of both research and debate.

66
 It was highlighted in a study named the Education Departments Music Education
usability of Turkish music in violin teaching Divisions at the universities founded in the
that the violin is used mostly in Turkish music provinces of Ağrı, Ankara, Bolu, Burdur,
and when classical western music technique Çanakkale, Denizli, Erzincan, Erzurum,
and performance manner are taken into İstanbul, İzmir, Tokat, Trabzon, Urfa and Van.
consideration, it is seen that they are not
compatible with each other, their pitch systems
are different and therefore the use of mode lines 2. Results
closer to tonal system can ease the education
[7]. In another study “Cello in Turkish music”, 2.1. Views of CTs for the first question
it was that due to the differences in pitch system
of Turkish and western music, performing a Question 1. Do your students practice
work in cello in Turkish music has large adjusted traditional Turkish folk music (TTFM)
works and Turkish art music (TTAM) works to
differences from that in western music [11].
Cello?
Problems caused mostly by pitch systems Four CTs reported that they use TTFM and
are related to the need for the consideration of TTAM works to teach cello to their students.
left and right hand rules and patterns in the
performance in classical western music These works include Nikriz Longa, Çalın
instrument education. Such technical rules and Davulları, Beyaz Giyme, Garip (Hicaz Saz
manners conflict with those used in the Semaisi)-Göksel Baktagir, Senle (Kürdi Saz
performance processes of Turkish music in Semaisi)-Yurdal Tokcan, Hicaz Peşrev-Refik
cello education. However, basic technical Fersan, Hicaz Saz Semaisi -Refik Talat Alpman,
manners based on applied sound system in Mini Mini Nihavend Peşrev-Hüseyin Saadettin
classical western music instrument education Arel, Muhayyer-Kürdi Saz Semaisi-Sadi Işılay,
processes should be given in Turkish music Mahur saz semaisi, Kürdili Hicazkar Saz
cello education processes especially at the Semaisi, Nihavent longa.
starting stage and for a definite time period.
One CT stated that he/she doesn’t plan to
Through such an application, students can learn
practice any of such these works while 9 have
the instrument for either locations or spring
never had students practice these works. Eight
techniques. Acquirements they obtain can
of them stated the reasons why they have done
contribute to their performance levels and
like this as follows:
musical expression status.
ü Students demand to play these works but I
It was aimed in the study in convenience don’t prefer them due to technical difference in
with its subject and the determined problem to left hand.
detect the views of teaching staff taking place ü Yes, I may think. The works my students
in cello education processes at education can play may be preferred.
faculties music education departments related to ü I cannot use traditional Turkish music works
the use status of traditional Turkish music since length of the lessons and musical levels of
works in this education process. With this aim, the students are insufficient in Cello teaching
an interview form was prepared for cello programs.
teachers (CTs) and data obtained were analysed ü Yes, such works should be used in cello
and evaluated based on each question using teaching program, however; they should be
content analysis method. As the result of the adjusted to Tampere system because CTs also
study, general status of traditional Turkish should be equipped with efficient skills relted to
music in cello education processes at music these works.
education departments was discussed and some ü I made interested students play such works
suggestions were proposed. using original notes. I didn’t use any adjustment
and adjusted works. TRT or Ministry of Culture
also does not use adjustment as far as I know.
1.2. Institutions of the participants They play by transferring them.
ü I generally use etude – based material by
Totally 14 teaching staff participated in the considering the technical deficits and working
study from Education Faculty Fine Arts habits of students in teaching process. In

67
addition, I make the students play a small scale and dual tones.
work by considering their demands. My aim is ü Students sometimes have problems in
to make them acquire first technical then intonation since the works involve half
musical skills. I observed through my positions.
experiences that students with high ability to
play instrument can comfortably, effectively Seven CTs stated that they don’t want their
and correctly play traditional music (TTFM and students to play adjusted/arranged (Tampere)
TTAM). However, those with low instrumental Turkish music works. Two of them answered
capability but willing to practice traditional the question “Do you want this topic to take
works play them much worse than their etudes. place in teaching programs?” as “No”. One
I think if students improve their instrumental replied that since he/she doesn’t have such
skills they can play all the world’s music. works he/she doesn’t have such a demand from
ü I want TTFM and TTAM to take place in the students. Four CTs expressed their reason
cello teaching processes. However, we need to for not demanding such a thing from their
decide on the pitch system we will teach to our students as follows.
students. Western or Turkish music pitch ü I want but my students’ levels are very
system? In addition, we need teachers to teach important.
our traditional music with micro tonal pitch ü Hours and credits of instrument lessons
system because majority of university teaching should be more in music teaching programs.
staff have been brought up by learning western ü It is very difficult in a one – hour lesson to
music pitch system. Such a situation is a very constitute the structure of traditional Turkish
big problem for teaching process. music on instrument.
ü The number of such works is unfortunately ü I want such a thing to take place in teaching
so limited. I surely want students to play them. programs.
However, what should be remembered is that ü I very rarely want students to play them
what positive contribution is provided to cello because I have difficulty in finding suitable
through the works we want students to play. works at efficient level.

2.2. Views of CTs for the second question 2.3. Views of CTs for the third question

Question 2. Do you want students to play Question 3. Do your cello students demand for
Turkish music works adjusted/arranged playing Turkish music works?
(Tampere) for cello?
Thirteen of CTs reported that their students
Seven CTs reported that they have their have such a demand for playing / singing
students adjusted/arranged (Tampere) Turkish Turkish music works while one CT reported
music works. they he/she has no student with this demand.
These works are for 2 cellos Anadolu
Ezgileri-Şinasi Çilden, for the cello of Azeri 2.4. Views of CTs for the fourth question
composers, Özlem-Şinasi Çilden, Hicaz Şarkı,
Uzun Hava-Erdal Tuğcular, Beyaz Giyme, Question 4. Do you work on traditional mode
İzmir Zeybeği, Kırmızı Buğday, Çanakkale scales or Tampere lines?
Türküsü, Sarı Gelin, Yemen Türküsü.
Twelve of CTs stated that they work on mode
Views on some of the works practiced are as scales or Tampere lines in cello teaching while
follows: 2 stated they don’t work on them.
ü Students do not study planned and
efficiently enough to play/sing the works. Views of CTs on both conditions;
ü In vocalising the works, they have difficulty ü I find scale works to be important and
in the same way with their deficits. necessary to grasp and perceive mode concept.
ü Only those at a certain level of playing ü I have students play the scales of the works
instrument can rarely play the arranged works. compatible with western music selected from
ü They have technical difficulty. suitable tones.
ü They have difficulty in especially rhythm ü After the determination of modal

68
characteristics of works I want students to play Question 6. Do you have arrangements for
the scales in connection with their modes. cello (cello-piano, orchestra, room music etc.)?
ü After playing modal scale we start playing
the works belonging to related mode. Four CTs stated that they have such an
ü Before playing the work I certainly make arrangement for cello while 10 stated that they
students practice Tampere scale. don’t.
ü It may make easier to adapt students to Works of CTs are as follows;
intonation of the work to be performed by Barcarole-Tachaikovsky, Maldita Nostalgias-
playing its scale. Johow, Over The Rainbow-Arlen, Oblivion-
ü Yes. If we play a modal work as in western Piazzolla, for Orchestra, Kalanların ardından,
music system, we first work on scale. Hüzün, Uzun ince bir yoldayım, The smurfs,
ü Whatever the mode and tone of the works I Bahçalarda Mor Meni, Şehnaz longa, Ederlezi
have students play I absolutely want them to (Film music), Game of Thrones (Film music),
play scale. for 4 cellos İzmir'in Kavakları ve Selanik
ü I want students to make Tampere scale Türküsü
works in the same way with its tone.
ü I have students play Tampere scale. They do
that with a great satisfaction. They feel more 3. Results, Discussions and Suggestions
comfortable themselves when playing the scales
they are familiar with. Their working time gets Totally 14 teaching staff participating in the
longer. study from Education Faculty Fine Arts
ü I have them play very little. If repertoire is Education Departments Music Education
richer then this will be a must. Divisions at the universities founded in the
ü It is useful for students to know basic modal provinces of Ağrı, Ankara, Bolu, Burdur,
scales I make them do such types of scale Çanakkale, Denizli, Erzincan, Erzurum,
works. İstanbul, İzmir, Tokat, Trabzon, Urfa and Van
ü I prefer to concentrate fully on the work expressed their views on the use of traditional
rather than modal scale. Turkish music works in cello teaching
ü I don’t have students make scale works processes. In addition, they made some
because I don’t have such works played. suggestions.

Four of 14 CTs have their students play

2.5. Views of CTs for the fifth question TTFM and TTAM works while one CT doesn’t
plan to do that. Nine CTs don’t practice such a
Question 5. Do you try to arrange / adjust thing. They also expressed their reasons for not
works according to TTFM – TTAM or western doing it and suggested some views.
music (Tampere) pitch system for cello
Common views of CTs who don’t plan to
Four CTs stated that they do adjustment / have their students play TTFM and TTAM
arrangement trials while 10 do not. works are that cello teaching processes are
carried out based heavily on western music in
Views of CTs are as follows. music education departments and most of CTs
ü Yes. I do Tampere adjustment trials. I need get western music education in instrument
to transpose the works according to cello
education processes and they do not have
registry. Such a condition may be problematic efficient background.
for traditional Turkish music rules. However, I
far as I observe, such adjustment may attract the It may be useful to remind some basic rules
attention of students and start to spend more of instrument education. In individual
time for their instrument. instrument education lessons, communication
ü Yes. I have Tampere works on this subject. I between teacher and teaching staff and teaching
generally consider the levels of my students and method play an effective role to access targets
try to write simple and easy. I have problems in [13]. In instrument education, it is aimed that
musical expression. students acquire some skills systematically by
practising the knowledge required to play the
instrument [2]. In this process, three basic
2.6. Views of CTs for the sixth question factors affecting the quality are teacher, student

69
and teaching program [3]. Teacher should be Thirteen CTs in the study reported that their
director for students in a hard process but not students want to perform works belonging to
unbeatable. With this view, student will their own culture while one CT reported that
absolutely be successful but after doing things his/her students don’t have such demands. In
they have to by extending the time over a long general, nearly all of the students want to play
period of time under dense efforts and in Turkish music works. Reason for this may be in
disciplines. This common view reemphasizes classical western music instrument teaching
that the process of instrument education is led processes, developing argument materials like
by teacher, student and the program. etudes, method etc. are applied often and
routinely. Therefore, in cello teaching programs
One of the reasons why CTs don’t have giving place to Turkish music works in some
students play TTFM and TTAM works is that intervals may increase students’ interest in the
they don’t have practicing materials of this instrument and affect their working
music type (method, etude etc.) or if there are performance positively. In addition, students
such materials they are not in instrument can have opinions, know and play their own
education processes in Turkey. music culture and types through their
instrument.
As is known, traditional Turkish music and
western music pitch systems are different from Twelve of 14 CTs sated that their students
each other. Main problem is that there are not play traditional mode or Tampere scale while 2
efficient amount of education materials for stated theirs do not. They also stated that when
TTFM and TTAM GTHM. Classical western students play these scales they learn both mode
music instrument teaching methods and lines and have the benefits for sounding process
techniques should be a reference to traditional of these works.
Turkish music pitch system and some efforts
should be spent to obtain the richness in the In western music, scale is defined to be the
materials and techniques western music has. sequencing of 8 adjacent notes consecutively
Such a development requires a long breathed from any sound as increaser or decreaser. In
working process. It is an inevitable fact that Turkish music, scale is defined to be the
students getting cello education in both sound sequencing of again 8 notes consecutively
systems will absolutely face some conflicting which is formed through the addition of one 4
situations. and one 5 or vice versa [12]. Structure of each
music type is different from each other. When
Seven CTs stated that they have students students practice scale works they can learn
play adjusted / arranged Tampere Turkish some rules in both types by playing and
music works while other 7 don’t. Two of them evaluating them comparatively.
answered the question “Do you want this topic
to take place in teaching programs?” as “No”. Four CTs stated that they have made
One replied that since he/she doesn’t have such Tampere adjustment trials while 10 haven’t
works he/she doesn’t have such a demand from done such a thing. Adjustments CTs may do
the students. Four CTs stated their reason for can provide them the opportunity to have
not playing and suggestions. repertoire of Turkish music types taking place
in instrument education processes in Turkey.
All the CTs participating in the study have After that, they can develop this repertoire in
the common view that the number of adjusted / convenience with the feedbacks by practicing it
arranged Tampere Turkish music works is not in cello teaching process. By doing this, CTs
enough and the present ones are not suitable for can contribute to the removal of the deficits
students’ musical knowledge level and some related to Turkish music types they stated in
techniques are difficult to learn. CTs can music education departments.
remove such negative situation by readjusting
the adjusted works to their students’ levels. In Four of 14 CTs participating in the study
addition, cello masters in Turkey can produce stated that they have arrangements for cello
such types of adjusted and arranged works (like (cello-piano, orchestra room music etc.) while
türkü, song etc. and book). 10 not. Attempts to be achieved in this field are
related directly to harmony knowledge.

70
According to Uludağ, harmony is to catch the References
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[1] Budak, O., A., Turkish musicnin kökeni
excellent order and unity [15]. gelişimi, Ankara: Phoenix Yayınevi,
CTs may not have such an authority, but (2006)
nevertheless they can collaborate with those [2] Çelenk, K., Keman Educationnde Vibrato
receiving harmony and make new arrangements Becerisinin Geliştirilmesine Yönelik
thus giving a new polyphonic dimension to Deneysel Bir Çalışma (Gazi Üniversitesi
traditional Turkish music works and contribute Örneği), Gazi Üniversitesi Eğitim
to this field. In addition, students can find Bilimleri Enstitüsü Ankara, 2010.
possibilities to share and practice their own [3] Çilden, Ş., Müzik öğretmeni yetiştirme
music culture through instrument groups like sürecinde instrument educationnin nitelik
dio, trio and quartet. sorunlarının irdelenmesi, Denizli: Ulusal
Müzik Education Sempozyumu, 2006.
The institutions giving music education are
[4] Değirmencioğlu, L., Arapgirlioğlu, H.,
named State Conservatories, Turkish Music
Makamsal cello öğretiminde popüler
State Conservatories, Old Turkish Music State
müzik eserlerinden yararlanma: (Orhan
Conservatories, Fine Arts Faculties, Musical
Gencebay örneği), Erciyes Üniversitesi
Sciences and Music departments and Education
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Faculties Departments of Fine Arts Education
sayı:31, 2011.
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carry out instrument education processes in [5] Demirci, B., Cello educationnde traditional
convenience with their aims and targets. In such Turkish musicne yönelik bir çalışma
a process, 4 basic music types play modeli, Hacettepe Universty Journal of
deterministic roles, which are TTFM, TTAM, Education, Cilt-sayı, 28(1), 2013.
polyphonic Turkish music and classical western [6] Demirci, B., Cello için Turkish music
music. dizileri, Ankara: Pegem Akademi, (2013)
[7] Demircioğlu, N., Keman öğretiminde
Today, debates still continue on pitch
Turkish musicnin kullanılabilirliği,
systems and relations between traditional
Yayımlanmamış Yüksek Lisans Tezi,
Turkish music types and polyphonic Turkish
İnönü Üniversitesi Fen Bilimleri Enstitüsü,
music. As stated by Demirci, traditional music
Malatya, 1996.
types should not be ignored and should
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should be accepted to be a process where it MEB Devlet Kitapları: İstanbul (1981).
gained an international status. It should be a [9] Oğuz, E., S., Toplum bilimlerinde kültür
duty for Turkish nations and generations next to kavramı, Hacettepe Üniversitesi Edebiyat
launch the basic principles on which Atatürk’s Fakültesi Dergisi/Journal of Faculty of
modernisation program in art culture [6]. Letters, Cilt/Volume 28 Sayı/Number 2, s.
123-139, 2011.
As stated by İlerici, at the most advanced [10] Özçelik, S., Küreselleşme ve ulusal müzik
scientific age, it is not expected that humans kültürüne etkileri, Ankara: Uluslararası
can understand Turkish music wholly but until Avrupa’da ve Türk Cumhuriyetleri’nde
the invention of a Turkish piano which will Müzik Kültür ve Education Kongresi, s.
definitely be used to evaluate polyphonic 186, 13-16 Kasım Türkiye, 2002.
relations in Turkish music, we have to use the
[11] Özgüller, Ö., Turkish music’nde cello,
present one and its capacity. However, it
Yüksek Lisans Tezi, Haliç Üniversitesi
doesn’t mean that it will not work with Turkish
Sosyal Bilimleri Enstitüsü Türk Musikisi
sounds. It will be the largest unconsciousness
Ana sanat Dalı, İstanbul, 2007.
not to work with our own sounds and it will
also be the biggest sin to come to a level where [12] Özkan, İ., H., Türk musıkisi nazariyatı ve
we cannot give the eternal gift to humankind usülleri-kudüm velveleleri, İstanbul:
[8]. Öztüken Neşriyat A.Ş, 2006.
[13] Parasız, G., Keman öğretiminde
kullanılmakta olan çağdaş̧ Turkish music
eserlerinin seslendirilmesine yönelik

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 olarak oluşturulan hazırlayıcı alıştırmaların
işgörüsellik ve etkililik yönünden
incelenmesi, Yayımlanmamış̧ Doktora
Tezi, Gazi Üniversitesi, Eğitim Bilimleri
Enstitüsü, Müzik Öğretmenliği Bilim Dalı,
Ankara, 2009.
[14] Uçan, A., İnsan ve müzik insan ve sanat
education, Ankara: Evrensel Müzik Evi,
(2005).
[15] Uludağ, A., K., Turkish music
Çokseslendirme Dersi İçin Tasarlanan Bir
Akor Programlama Çalışması ve Etkililik
Düzeyleri, Journal of Human Sciences,
vol.13, 2
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2016).

72
Study of music teachers’ opinions about
individualised education programs (IEP)

Gökalp PARASIZ*
*Atatürk University Kazım Karabekir Education Faculty Department of Fine Arts Education Music Education
Division
[email protected]

Abstract. Education of individuals needing special education is completed through Individualised Education
Program (IEP) used in present education programs and adjusted separately to each student. Effectiveness of IEP
is directly associated with the knowledge and experience of teachers in special education and preparation and
application of IEP topics. From this point of view, at the first stage, determination of deficiencies and problems
of music teachers related to IEP is a very important topic. Data in the scope of the study were collected through
interview technique among qualitative data collection techniques and supported by document analysis technique.
Study group was composed of 33 secondary school music teachers having full time inclusive students in 2015-
2016 education term in the centre of Erzurum city. It was found that participant music teachers in the study do
not have enough knowledge about inclusion application and the content of IEP. Requirement of IEP was
determined to be the common view of teachers. In addition, it is also expected by music teachers that in order to
remove their deficiencies in both preparation and application of IEP they should have an extensive education at
BSc stage and training course after they start teaching.

Keywords: Music education, individualised education program (IEP), inclusion in music education

1. Introduction

Education program is a tool prepared and characteristics. Making adjustment to their

renovated consistently to cause desired educational regulations and providing
behavioural changes among children and supporting educational services are needed for
youths. It is closely related to education policy them. Today, services involving the methods
on one side and application field on the other confining SNSCs the least are preferred the
side. It functions as a bridge connecting practice most [16]. Special education is defined in a
with National Education policy [21]. legal regulation (code 573 3rd item term b) to be
that special education is the type of education
On preparing educational programs, special conducted in convenient areas and designed for
needs are considered not only for normal SNSCs to satisfy their educational needs with
students but also those needing special care the help of specially trained staff, developed
(students needing special care; SNSC) and educational programs and methods suitable for
education for their individual characteristics their deficiencies and characteristics [12]. It is
and differences. also defined as the type of education provided
to children with different and special needs,
Individuals showing significant differences
increasing the capacity of individuals with
from their peers in individual characteristics
superior characteristics convenient to their
and educational efficiencies are called
capabilities to maximum, preventing
individuals requiring special education (IRSE)
deficiencies from turning into disability and
[1]. Taking individual differences into supporting the disabled individuals to become
consideration in education and teaching process self – efficient and independent producer
is among the most important subjects of
individuals and integrate with society [2].
education. It is a basic right to students needing
special care to get education for their individual

73
 It is very important for disabled students to same classroom through accurate methods and
integrate with the society and gain the skills of approaches to provide them possibility to use
independent living through successful inclusion their special characteristics in the best way and
programs [15]. make easier their life in the society.

Inclusion practices began in 1970s in the Sucuoğlu et al. stated that in many countries
USA with the rise of Inclusion Law then inclusion practices are expanding and the
separated to other countries. With the practised number of heterogeneous classrooms is
law, disabled children received possibility to increasing in general education classrooms and
have education with their normal peers and the primary school teachers may face SNSCs more
requirement of such an application is often [19]. At every stage of life, sportive and
emphasized. Inclusive education model main artistic activities to be carried out with peers
aim of which is to offer possibility for SNSCs can ensure the development in the individual
to have education with their peers in general and social development of people and the skills
education facilities was discussed in many the activities require. Peer interactions
countries and had practice area due to legal involving such sportive and artistic activities
regulations, results of the studies, pressure from are very important since they enable both social
parents groups [18]. In UK, with the legal interactions and the opportunity to learn various
regulation in 1993 (Education Law) and skills. In such activities, individuals become
Practical Guide prepared in 1994 aimed to aware of interest and abilities of other
provide possibilities at the possible highest participants of the activity and gain new skills
level for SNSCs from every disability groups to while spending quality time with other peers
utilise special education services by [20]. Zick stated in a study conducted on
determining the principles of the regulations mentally disabled students that in Germany
(Department for education, 1994, trans. Özgür) at a primary school mentally disabled
[16]. In 2005, the law of citizenship of the students can integrate with other students
disabled, their inclusion to the society and with the help of the conversation and
equality of their rights in France take the behaviours in the classroom environment
disabled into consideration in a general
their peers can support them, in especially
framework. Such a legal regulation is accepted
to be an important advancement since for the music and PE classes all the classroom
first time France has such a statement in its come together and can make common
human rights law. In the new framework of the activities [22].
law and regulation, inclusion of the disabled to
social life is a base [7]. The main issue of the inclusion is providing
supportive service. Without providing special
When literature is reviewed in Turkey education support services, inclusion will only
related to the education of SNSCs, it is seen be a placement of SNSCs in a normal education
that such students had education discretely from classroom. However, inclusion is completely
others in 60s and 70s. From 1970, convenient achieved only when SNSCs or teachers or both
students began to have education with their are supported when needed [4].
peers (as a kind of inclusive education). Form
mid-1980s, it has been seen that programs and Present situation needs to be determined at
activities carried out in normal schools began to schools where inclusion is practised to obtain
expand for SNSCs by making adjustment for the expected benefits of inclusive education, to
them [16]. make required changes and regulations and
differentiate/adjust the system according to the
Inclusion is the education of SNSCs in areas the schools are located. Such a
normal education environment on the condition determination attempt can ease infrastructure
of providing special education services to works like the setup of support systems,
teachers and students [11]. growing up of experienced and expert staff to
work at such schools, designing inclusive
The aim of inclusive education is to reveal environment, training SNSCs and their families
the abilities and interests of SNSCs going on and removal of the problems of staff working at
their education with their normal peers in the this application [10].

74
 Education through inclusion has 3 different IEP is a written document for SNSCs to
application models as fulltime, part time and develop or meet their educational needs in
reverse inclusion. disciplines taking place in the program they
receive (self-maintenance, academic abilities,
1.1. Full time inclusion social skills, communication etc.) at suitable
educational environments (school, special
SNSC is registered in a normal classroom education schools, special education classroom
and receives his/her whole – day education in etc.) and to benefit the most from supportive
the same classroom. Special education support education services (support education room,
services and (support education room), special
classroom assistance, language and speaking
tools and equipment and education materials are therapy, physical rehabilitation etc.).
provided for SNSCs to get their education in
the same classroom with their peers at Such a document is planned with the
preschool, primary and secondary school and collaboration of family, teacher, and related
general education institutions and integrate with specialists and applied with the family’s
their peers socially. IEP is applied and required approval [14]. IEP is not a contract document
adjustments are designed for SNSCs [13]. guaranteeing the planned advancement in
students’ performance. However, all the
1.2. Part-time inclusion services written down in IEP should be
In this type of inclusion, SNSCs attend some provided to SNSCs and IEP team should help
lessons or outdoor activities with their normal SNSCs to achieve all targets taking place in IEP
peers in the same classroom or out [13]. (NCSE, 2006; Pierangelo and Giuliani, 2007,
trans. Avcıoğlu) [3].
1.3. Reverse inclusion
Several studies have been conducted since
This inclusion is applied when the school is the beginning of inclusion practices on nearly
specially designed for SNSCs but normal whole aspects of the subject including its
students want to attend it. In this case, either importance and applicability and the
normal students are allowed to attend the same determination of the views of pre- and primary
classrooms with SNSCs or they are taken to a school and branch teachers and special
discrete classroom [13]. education experts, families and school directors.

With the inclusive education programs, Results of these studies generally include
SNSCs can get their education with their peers that the interviewed individuals generally look
from preschool to the end of secondary school positive into inclusion practices and SNSCs
and be prepared for social life [14]. should get their education under special
inclusive environment. In addition, in the
It a requirement according to Wolfe and Hall studies determining views, teachers are reported
(2003) and Wood, (2002) in each inclusion to have still problems with inclusion practices
practice that academic and social benefits of all and state that as they have such deficiencies
students from the inclusion should consistently inclusion does not have a good for SNSCs and
increase, IEPs should be prepared, students’ their peers [6]. Field and branch teachers have
performance should be monitored, teachers very critical duties and responsibilities in the
should be positive role models, other students inclusion education of SNSCs in Turkey. IEPs
should raise awareness/sensitiveness towards should be prepared and applied effectively and
individual differences, SNSCs should accurately in order to have a successful
participate actively in education by interacting education model.
positively with their peers and make SNSCs
feel the ownership of the area they are in and One of the fields supporting the social and
make collaboration with people and institutions educational development of SNSCs the most is
[5]. music and education with music.

According to Özyürek, IEP is a general flow In the study of Hirler in Germany on

chart for SNSCs showing what behaviours they preschool students, SNSCs and normal students
should do and how and with whom they should come together and dance in a rhythm. They
do the sub - activities [17]. also develop their creativeness. Music

75
education is an important method in the 2. Findings
mentioned study. Music seen to be a
Table 1. Education status of music teachers
universal language moves emotions and
related to inclusion education
integrates children in the same place
through a pedagogic infrastructure [8]. In I have had education on the subject 4
2005 in France, teachers were trained about the I haven’t received any education 29
acceptance of the disabled in music education
by Cemafore in the scope of a program after It is seen from Table 1 that 4 music teachers
which this training turned out to be a have had inclusion lecture at university while
complementary must for music teachers [7]. the rest, 29 haven’t received such a lecture.

Present study aims to determine the views of Table 2. Efficiency of teachers in the
music teachers about the preparation and preparation of IEP
application of IEP over the secondary school
music teachers in the city centre of Erzurum I have sufficient knowledge about IEP 4
who have full time inclusive students. I have prepared IEP for inclusive students 28
I cannot prepare IEP for inclusive
Descriptive method was used in the study. 5
students
Data were collected using interview technique,
one of the methods of qualitative data collection Table 2 presents the situation of music
and supported by document analysis teachers in preparation efficiency of IEP for
techniques. Data collection by asking questions SCSCs. It is seen from the table that 4 teachers
to subjects is generally a face to face method have sufficient knowledge about IEP, 28 have
[9]. The study includes 33 secondary school prepared IEP in their professional life and 5
music teachers in the city centre of Erzurum cannot prepare IEP.
who have full time inclusive students.
Following titles are the main matters of the Table 3. Music teachers’ demand for assistance
interview. in the preparation of IEP

• Education status of music teachers related I demand assistance from guiding

24
to inclusion education teacher
• Efficiency of teachers in the preparation of I demand assistance from school
7
IEP administration
• Music teachers’ demand for assistance in I do not make preparation 9
the preparation of IEP
• Problems of music teachers in preparing In Table 3, preparation status of music
their IEP teachers is evaluated and 24 music teachers
• Problems of music teachers in applying demand assistance from guiding teacher when
their IEP for their aims preparing IEP, 7 from school administration
Questions in the interview form were while 9 do not make any preparation for this
prepared under the control of one expert and activity.
one education programmer in special education.
Participant teachers determined randomly were
included in the study after getting permission
from local governorate and educational
administration of Erzurum. Teachers were
visited in their schools and told the aims and
scope of the study. Data collected from the
interviews were analysed in complementary
method.

76
Table 4. Problems of music teachers in attending the lessons and 5 do not express their
preparing their IEP ideas.

I do not have efficient knowledge about 3. Results, discussions and suggestions

11
the needs of inclusive students
I cannot find any sample documents Among 33 music teachers participating in
27 the study in the sampling area of Erzurum city
related to IEP in music education field
centre, 4 had inclusion lecture at university
I cannot produce creative opinions about
22 while the rest, 29 reported that they did not
the subject
receive such a lecture. This situation shows that
I cannot prepare IEP which can integrate
music teachers do not have efficient knowledge
SNSCs with normal students and make 25
and education about inclusion practices.
communication between them
I cannot get enough knowledge and It was seen when the efficiency of teachers
8
support from families about IEP obliged to be used in inclusion
No comment 5 practices in the education of was considered
that only 4 of 33 teachers had sufficient
According to Table 4 related to the problems knowledge about IEP, 28 of them had
music teachers faced when preparing IEP, 11 previously prepared IEP in their professional
teachers do not have efficient knowledge about life even though they did not know much about
the needs of inclusive students, 27 cannot find it and 5 teachers could not prepare IEP.
any sample documents related to IEP in music
education field, 22 cannot produce creative It was stated in the study that 24 music
opinions about the subject, 25 cannot prepare teachers demanded assistance from guiding
IEP which can integrate SNSCs with normal teacher when preparing IEP and 7 from school
students and make communication between administration while 9 teachers did not make
them, 8 cannot get enough knowledge and preparation for this activity.
support from families while 5 do not express
their opinions about the subject. It was determined when the problems music
teachers faced when preparing IEP that 11
Table 5. Problems of music teachers in teachers did not have efficient knowledge about
applying their IEP for their aims the needs of inclusive students. Furthermore, 27
teachers reported that they could not find any
I don’t find the length of classes to be sample documents related to IEP in music
28
sufficient education field. Twenty-two teachers were
I cannot get enough support from school determined not to produce creative opinions
13
administration about the subject. It was seen that 25 teachers
I cannot get enough support from could not prepare IEP which can integrate
8
families SNSCs with normal students and make
I have difficulty in finding suitable tools communication between them, 8 teachers could
28 not get enough knowledge and support from
for the lesson
I have inclusive students not attending families while 5 teachers did not express their
18 opinions about the subject.
the lessons
No comment 5 It was also seen when the problems music
teachers experienced while applying their IEP
As can be seen in Table 5, when the in convenience with their aims were considered
problems music teachers experienced while that 28 teachers reported that the length of class
applying their IEP in convenience with their is not enough, 13 teachers did not get efficient
aims are evaluated following results were support from school administration while 8
found. Twenty – eight teachers reported that the from families, 28 teachers had difficulty in
length of class is not enough, 13 teachers do not finding suitable tools for the lesson, 18 teachers
get efficient support from school administration had inclusive students not attending the lessons
while 8 from families, 28 teachers have and 5 did not express their ideas.
difficulty in finding suitable tools for the
lesson, 18 teachers have inclusive students not

77
 It was found that the teachers participating addition, physical conditions in the classrooms
in the study do not have efficient knowledge and materials to be used in the class should be
about inclusion practices and the content of provided in the best possible ways. Great care
IEP. Music teachers have difficulty in finding about the preparation and application of IEPs
sample IEP suitable with their branch, cannot may provide positive interaction between
produce opinions to elaborate the education of SNSCs by increasing their self-esteem and their
SNSCs and get information about SNSCs from environment and peers.
their families, experience problems in SNSCs’
attending the class and find length of the References
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Kaynaştırma, Eğitim ve Bilim, 16,45 50 Behinderte, Diplomarbeit, Diplomica
1992. Verlag, p.45, 2005.
[12] MEB, Özel eğitim Hakkında Kanun
Hükmünde Kararname, 1997.

[13] MEB, Kaynaştırma Yoluyla Eğitim

Uygulamaları, Özel Eğitim Hizmetleri
Yönetmeliği, 02. 09. 2008, 23/2-a-b-j,
Tarihli Genelge.

[14] MEB, Okullarımızda Neden Nasıl Niçin

Kaynaştırma, MEB Özel Eğitim Rehberlik
ve Danışma Hizmetleri Genel Müdürlüğü.
Ankara, s. 38, 2010.

[15] Orel, A., Töret, G., Zerey, Z., Sınıf

Öğretmeni Adaylarının Kaynaştırmaya
Yönelik Tutumlarının İncelenmesi, Ankara
Üniversitesi Eğitim Bilimleri Fakültesi
Özel Eğitim Dergisi, 5 (1), 23-33, 2004.

[16] Özgür, İ., İlköğretimde Kaynaştırma.

Karahan Kitabevi, Adana, s. 1-30, 2011.

[17] Özyürek, M., Bireyselleştirilmiş Eğitim

Programını Geliştirme ve Temelleri, Kök
Yayıncılık: Ankara, 2010.

[18] Sucuoğlu, B., Türkiye’de Kaynaştırma

Uygulamaları: Yayınlar/Araştırmalar
(1980-2005), Ankara Üniversitesi Eğitim
Bilimleri Fakültesi Özel Eğitim Dergisi, 5
(2), 15-23, 2004.

[19] Sucuoğlu, B., Ünsal, P., Özokçu, O.,

Kaynaştırma Sınıfı Öğretmenlerinin
Önleyici Sınıf Yönetimi Becerilerinin
İncelenmesi, Ankara Üniversitesi Eğitim
Bilimleri Fakültesi Özel Eğitim Dergisi, 5
(2), 51-64, 2004.

79
 Effect of the Use of Traditional Folk
Melodies on Student Performance Self-
Efficacy in Violin and Viola Education
Assoc. Prof. Dr. Zeki NACAKCI - Assoc. Prof. Dr. Alaattin CANBAY
Assoc. Prof. Dr. Zeki NACAKCI, Mehmet Akif Ersoy University, Education Faculty, Music Deparment,
Burdur, [email protected]

Abstract
This study aimed to determine the effect of the use of mainly traditional folk melodies during the violin
and viola education process on the self-efficacy of students in Faculty of Education Music Training Branch
during instrument performance. The study additionally aimed to determine the opinions of students relating to
the use of traditional folk melody-based applications during the violin and viola training process. The study
followed a descriptive format, using a mixed experimental design with pre-trial and post-trial control groups,
benefitting from qualitative research techniques. In conclusion, the use of traditional folk melodies during violin
and viola lessons was identified to be effective on the self-efficacy of students. As students’ ears are familiar
with their own cultural and musical environment, playing melodies was observed to increase self-efficacy in
instrumental performance. At the end of the study, addition of etudes and pieces based on Turkish folk melodies
to the routine repertory of students will allow music teacher candidates to use their instruments more
productively during their occupational lives, and it is recommended that Turkish folk melodies be frequently
used in instrumental lessons.

Keywords: Self-Efficacy, Violin, Viola, Folk Melodies

1. Introduction performance, especially for stringed

Self-efficacy is defined as an individual’s instruments, may create a cycle of not wishing
judgment of their ability to do the necessary acts to study the instrument and not allocating
required to complete a performance and about sufficient time to playing, so they do not play
their ability to organize these actions [1].
Individuals with low self-efficacy do not fully well and as they do not play well they will lack
give themselves to the learning process, have desire to work on performance. As a process this
low desire to learn, do not want to face cycle may cause the individual to lose their self-
difficulties encountered and do not try to efficacy in terms of playing the instrument. In
overcome this situation [1,3]. Individuals with this way, high self-efficacy related to playing an
high self-efficacy display more effort in trying instrument in an individual, is thought to be an
to succeed than individuals with low perception important factor in the successful playing of the
of self-efficacy and work over longer durations instrument by the individual.
[6].
When the relationship between playing an Mcpherson and McCormick in research
instrument and self-efficacy is examined, any on the effect of self-efficacy on performance
instrumental performance occurs as a result of stated that self-efficacy has a very significant
long-term personal study. Instrumental effect on musical performance [4].
performance requires patience and dedication, in
addition to daily etude and piece studies. As a In Turkey, in the music teaching
result, students need high motivation for department, instrumental education lessons are
instrument work. An individual without belief in held for one hour per week. Within this process,

80
the student takes lessons with the instrument Aim
teacher and completes instrument study alone This study aims to determine the effect of
during the remaining time. In order for the mainly using traditional folk melodies during
student to complete the necessary productivity violin and viola education on self-efficacy
for instrument studies, appropriate strategies related to instrumental performance of students
need to be used for the target [8]. Studies in the at the Faculty of Education, Music Teaching
time remaining outside of instrument lessons are Branch.
important determinants of the students
confidence in their own capacity for learning The study additionally aimed to determine
and application of learning, development of the opinion of students related to traditional folk
strategies and long-term productive use of melody-based applications during the individual
strategies developed [5,8]. violin and viola educational process.

Moving from this point, all types of Within the framework of these general aims,
factors that may increase instrument the answers to the following questions were
performance by students must be investigated sought;
and detailed studies of these factors completed, Is the intense use of traditional folk
especially in music teaching departments where melodies during the instrument training
instrument lesson hours are short. This study process effective on self-efficacy related
focused on an important one of these factors, the to performance of students?
effect of traditional music and instrument At the end of the process is there a
performance on instrument training studies significant difference between the self-
within the context of education, especially for efficacy of violin and viola students?
stringed instruments like violin and viola where What are the student opinions related to
the student’s self-confidence is a very important the application?
factor, and was designed with the idea of
increasing the self-efficacy of students. 2. METHOD

Significance 2.1. Research Model

For individuals receiving instrument This study followed a descriptive format,
training, development of self-efficacy perception with mixed experimental design of pre-trial and
on the topic of instrument performance, along post-trial control groups benefitting from
with increased self-confidence, is among factors qualitative research techniques.
that may increase success. As a result, it is
necessary to support playing an instrument or 2.2. Study Group
developing instrument skills with psychological The study group for the research
supporting studies in addition to methodological comprised violin and viola students from
instrument training. Çanakkale Onsekiz Mart University (ÇOMÜ),
Faculty of Education, Fine Arts Teaching
The importance of this study, the first of Department, Music Education Branch and
its kind on the topic and in terms of target mass Mehmet Akif Ersoy University (MAKÜ),
in Turkey, is that it experimentally researches Faculty of Education, Fine Arts Teaching
and presents an application to increase self- Department, Music Education Branch.
efficacy related to instrument performance for
students learning individual instruments. Study group,
Experimental group: 8 violin, 4 viola
Control group: 8 violin, 4 viola
Comprising a total of 24 students.

81
Table 1. U Test Analysis of Equivalence of Groups 2.5 Analysis of Data
Sum of Mean For statistical analysis of data collected
Group N U P
Runks Runk
related to the sub-problems created within the
Control 12 155,5 12,96
Experiment 12 144,5 12,05
66,5 .755 framework of the general aim and variables of
the research, the SPSS 22.0 program was used.
As seen in Table 1, there was no
noteworthy difference between the two groups As the numbers within the groups were
in term of equivalence between the experimental low and as data did not have normal distribution,
and control groups (U=65, p<.05). Accordingly it was appropriate that a non-parametric test be
before beginning the application, the self- used for analysis. As a result the equivalence
efficacy belief in both groups was at the same test for the groups and assessment results
level. belonging to the application process were
analyzed with the Mann Whitney U test. The
2.3. Data Collection significance level between the groups for U test
This study used the “Instrument analysis was accepted as p<0.05.
Performance Self-Efficacy Belief” scale
developed by Girgin (2015) with the aim of Content analysis was completed on
determining the self-efficacy belief for student opinions and teacher observations in the
instrument performance of students. The scale research.
comprises 20 items and 3 sub-scales. The
reliability of the subscales were, in order, 3. Findings And Interpretation
perception of self-efficacy 0.86, perception of Is the intense use of traditional folk
not being self-efficient 0.76 and psychological melodies during the instrument training
indicators 0.61. process effective on self-efficacy related to
performance of students?
The research additionally benefitted from
a student opinion form and teacher observations, Table 2. U Test Analysis of Self-Efficacy Belief after
the Application Process
as the recommendations and thoughts related to
Sum of Mean
the experience and concerns of students are Group N U P
Runks Runk
important. Control 12 80 6,67
2,00 .000
Experiment 12 220 18,33
2.4. Experimental Application Process
The research initially ensured statistical As understood from Table 2, there was a
equivalence between the groups. Later the significant difference observed between the two
control group continued routine education groups (U=2,00 p<.05). Accordingly the intense
without any intervention. The experimental use of folk melodies during the application
group in the research were given folk melodies process may be said to have the effect of
with different technical, rhythm characteristics increasing student self-efficacy related to
and modes to play in each lesson during a 12 instrument performance.
week period, with pieces to be played from
memory in the next lesson and students were At the end of the process is there a
requested to play these pieces for friends and significant difference between the self-
family. efficacy of violin and viola students?

82
Table 3. U Test Analysis on difference in self- Table 4. General Distribution of Statements Used in
efficacy belief among violin and viola students the Recommendations and Demands of Students
Mean Frequency
Sum of Student Statements
Group N Runk U P of use (f)
Runks
I was happy/enjoyed it/good experience 9
Violin 8 50 6,25
14,00 .808 I can play something 7
Viola 4 28 7,00
Now I’m not bored by working 7

As seen in Table 3, there was no I can play from memory 6

significant difference between the two groups My confidence increased 4
(U=14,00 p<.05). Accordingly, the use of folk
melodies in education did not cause a significant It’s easier to play melodies we know 4
difference in the self-efficacy of violin and viola It’s nice to play the melodies 3
players. This situation may be due to the similar
Total number of students giving
characteristics of both instruments and to the 12
opinions / N
fact that the applied training process did not
create a difference between the instruments.
As understood from Table 4, the most
common statements on the student opinion
Is the intense use of traditional folk
forms were “being happy, good experience,
melodies during the instrument training
enjoyed it, now I can play something, I don’t get
process effective on self-efficacy related
bored working, etc.” Accordingly they were
to performance of students?
satisfied with the educational model as applied,
S.1. “Before I never played any piece on my
and were of the opinion that it was beneficial in
instrument for others. Now I play the ballads I know increasing their self-efficacy.
even for my family. I’m very happy.”
S.7. “Playing the ballads I realized I can actually Teacher Observations
play something on the viola. My view of the viola The observations of the teachers involved
changed.” in the research were;
S.5. “Now when someone says play something, I The educational process based on
remember and can play something and I like it. My traditional folk melodies, though with short
confidence increased.”
duration, ensured spiritual and emotional
S.11. “Playing folk melodies with a stringed
development of students with their instruments,
instrument was really lovely. Now I work even
harder.”
and was observed to affect development of
S.2: “Rhythmically, performing rhythm forms that performance and interpretation skills.
were difficult made it easier to learn.” Additionally even in this short time, there was
S.4: “In violin education generally classic western development in the students’ knowledge of
music forms the repertory, adding traditional mode and rhythm in Turkish music, and they
melodies made me happy.” confidently and easily played Turkish music
S.6: “Modes in music are generally studied pieces from memory.
theoretically, this way we played the melodies and
performed them.”
As observed in the common statements on
S.8: “This study allowed us to renew bonds with our
the opinion form, as the repertory and
own cultural identity, while enjoying playing
melodies we knew we also learned melodies from educational materials for violin and viola
other regions.” lessons are mainly taken from classic western
music repertories, the importance of traditional
What are student opinions of the music increases. In Turkey educational materials
application? prepared from traditional melodies for stringed

83
instrument education were interesting to the added to the study repertory within the
students and provided positive motivation for educational process.
study. The pleasure experienced while
performing songs-ballads etc., especially, For music teaching candidates to more
increased the self-confidence of students. Within productively use their instrument during their
this context, the preparation of scales, and modal occupational life, Turkish folk melodies may be
melodies, songs and ballads arranged for frequently used in individual instrument lessons.
students to play and at advanced levels new and
original pieces to be included in the educational As folk melodies are played from memory
repertory may be required and will provide and with different tones, they are predicted to be
significant benefits to individuals during the helpful in developing musical memory and
instrumental education process. transposition skills of students and it is
recommended studies be performed on this
4. Conclusion and Recommendations topic.
In conclusion, the use of traditional folk
melodies in violin and viola education was References
effective on the self-efficacy of students. [1] Bandura, A. (1986). Social Foundation of
Playing melodies that students have an ear for Thought and Action: A Social Cognitive
from their own cultural and musical Theory. Englewood Cliffs, NJ: Prentice Hall.,
environments appeared to increase the self- Page 391
efficacy for instrument performance. [2] Bandura, A. (1993). Percieved Self efficiacy
in Cognitive Development and Functioning.
At the end of the educational process Educational Psychologist, 28(2), 117-148.
applied in the research, there was no significant [3] Girgin, D. (2014). Musical Instrument
difference found between the self-efficacy of Performance Self-efficacy Belief Scale : The
violin and viola students. In the research, it was Validity and Reliability Analysis, PAU Egit Fak
observed that students more easily Derg, (38): 107-114
comprehended the rhythmic and melodic [4] McPherson, G., and McCormick, J., (2006).
structure in folk melodies due to exposure to Self Efficacy and Music Performance.
folk melodies during the application. Psychology of Music, 34,3, pp:322-336.
Additionally there appeared to be an increase in [5] Nielsen, G., (2004). Strategies and self
the instrument study duration, efficiency and efficacy beliefs in instrumental and vocal
desire of students. individual practice: a study of students in higher
music education Psychology of Music,32,4, pp:
Undoubtedly at the end of the 12 week 418-431.
experimental process, in playing stringed [6] Schunk, D. H. (1989). Self-efficacy and
instruments with high degree of difficulty like Achievement Behaviors. Educational
the violin and viola, the increase in self-efficacy Psychology Review, 1, 173-208.
of students is noteworthy and at the same time,
[7] Schunk, D. H. (1995). Self-efficiacy,
this is a topic that requires more comprehensive
Motivation, and Performance. Journal of
research.
Applied SportPsychology, 7(2), 112-137.
[8] Şeker, S.S. (2014). “Müzik Öğretmeni
Accordingly at the end of the study the
Adaylarının Akademik Özyeterlik Düzeyleri İle
following recommendations are proposed.
Çalgı Çalışmaya İlişkin Tutumları Arasındaki
İlişkinin İncelenmesi”, E-Journal of New World
In line with the general aims of
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instrument education, scale studies, etudes and
135-149
pieces based on Turkish folk melodies may be

84
The Models Projected To Be Used In The
Transfer/Adaptation Process Of Turkish Folk
Music Phonetic Notation System/TFMPNS To
Educational/Doctrinal Applications:
KayPENTAX®: Applied Speech Science For
Dysarthrias Model 5153
Gonca Demir
Istanbul Technical University Turkish Music State Conservatory Vocal Performance Department
[email protected]

Abstract. Turkish Folk Music Phonetic Notation System/TFMPNS is a notation system example which aims to initiate a
parallel application to the national/international linguistic/musicological application foundations of which were laid under the
scope of ITU ISS Turkish Music Program post graduation thesis, which will be developed under the scope of ITU ISS Musico-
logy and Music Theory Program doctorate thesis, which is configured in phonetics/morphology/vocabulary axis of together
with traditional/international attachments based on Standard Turkey Turkish/STT (the standard language/standard variant
which is recognized and adopted in a community as a means of agreements among the regions, gains dominant position by
becoming widespread spoken dialects and has a large function among language types and usage areas is in a position of means
of communication among speakers of different dialects)-Turkish Linguistic Institution Transcription Signs/TLITS (transcrip-
tion marks used to transcribe local oral features existing on the axis of phonetics/morphology/lexicon criteria and theoreti-
cal/performance infrastructure of local oral texts, which is collected through the comprehensive compilation work on Anatolian
dialectology)-International Phonetic Alphabet/IPA (standard alphabet type consisting of signs and symbols which is developed
with the aim of redacting sound values in international standards, encoding speech sounds of all languages in an exemplary
manner, preventing confusion engendered with numerous transcription system by providing correct pronunciation of languages
and developing a separate symbol for each sound) sounds. KayPENTAX® (World Leaders In Speech, Voice and Swallowing
Instrumentation: Kay Electric Company & PENTAX Medical Company) Applied Speech Science for Dysarthrias Model 5153;
it is a model sampling developed as a pedagogical software for instructors/students and speaking/language pathology interns in
Wisconsin-Milwaukee University which has characteristics of completing education and database tools included in choices
that can operate on its own, designed as an interactive instrument which provides, with multimedia approach, detailed sum-
mary of neurological/anatomic basis of speaking generation and clinical process of dysarthria which have difficulty in word
generation in the level of phonetic/morphological/vocabulary criteria. Through this announcement which is to be presented
within the scope of International Academic Development Platform/IADP International Humanities and Social Sciences Con-
ference/IHSSC 2016; transmission/adaptation process of speech/voice analysis features structured in phonologi-
cal/musicological legislation axis to Turkish Folk Music Phonetic Notation System Database/TFMPNS D will be carried out
through case of KayPENTAX® (Kay Electric Company & PENTAX Medical Company) Applied Speech Science for Dysarth-
rias Model 5153.

Keywords: KayPENTAX® (Kay Electric Company & PENTAX Medical Company) Applied Speech Science for
Dysarthrias Model 5153, Turkish Folk Music Phonetic Notation System Database/TFMPNS D.

85
1. Turkish Folk Music Phonetic Notation used to transcribe local oral features existing on
System Database/TFMPNS D the axis of phonetics/morphology/lexicon crite-
ria and theoretical/performance infrastructure of
Turkish folk music has a priviliged place in local oral texts, which is collected through the
music types due to regional dialect varieties. comprehensive compilation work on Anatolian
The future of Turkish folk music depends on dialectology: TDK, 1945: pp. 4-16) and Inter-
protection of its attitude originating from dia- national Phonetic Alphabet/IPA (standard al-
lect differences and its resistance against chan- phabet type consisting of signs and symbols
ge. Turkish folk music regional dialect proper- which is developed with the aim of redacting
ties are transcripted by Turkish Linguistic Insti- sound values in international standards, encod-
tiution Transcription Signs/TLITS depending ing speech sounds of all languages in an exem-
on linguistic laws in axis of phonetics, morpho- plary manner, preventing confusion engendered
logy and parole existence. On the other hand, with numerous transcription system by provid-
depending on musicological laws, regional dia- ing correct pronunciation of languages and de-
lect properties of Turkish folk music which is a veloping a separate symbol for each sound: IPA,
verbal/artistic performance type structured in 1999) sounds (Demir, 2011).
axis of linguistic approaches in ethnomusico-
logy-performance/display theory are also Turkish Folk Music Phonetic Notation Sys-
transcripted by Turkish Linguistic Institution tem Alphabet Database/TFMPNS AD: tran-
Transcription Signs/TLITS. It is determined scription system of Turkish Language Institu-
and approved by linguistic/musicology source tion/TLI dialect researches (Ercilasun, 1999: pp.
and authotrities that this reality which is also 43-48), transcript in dialect studies (Sagır,
present in other world languages can be trans- 1999: pp. 126-138), vowel and consonant
ferred to notation and vocalized again and again changes of Anatolia dialects (Caferoglu, 1964-
in accordance with its original through Interna- 1965: pp. 1-33), Urfa/Kerkuk/Tallafer Dialects
tional Phonetic Alphabet/IPA existence and Turkish Language Institution Transcript
usability of which have been registered by local Signs/UKTD TLITS (Ozbek, 2010: pp. xviii,
and universal standards through the notification 11-19), IPA provisions of the words in Turkish
that will be submitted (Radhakrishnan, 2011: pp. alphabets and TDK-IPA provisions of voice
422-463). descriptions-transcription signs (Pekacar &
Guner Dilek, 2009: pp. 584-588), phonology
Turkish Folk Music Phonetic Notation Sys- ABCs of Turkey Turkish Pronunciation Dic-
tem/TFMPNS is a notation system example tionary/TTPD: IPA provisions of vowels and
which aims to initiate a parallel application to consonants (Ergenc, 2002: pp. 46-47), IPA ta-
the international linguistic/musicological appli- bles(Url<http://www.langsci.ucl.ac.uk/ipa/ipach
cation foundations of which were laid under the art.html>), International Phonetic Alphabet/IPA
scope of Istanbul Technical University Institute Turkish vowel/consonant letter tables (IPA,
of Social Sciences Turkish Music Program post 1999: pp. 154-156), extra-IPA symbols for ir-
graduation thesis, which will be developed un- regular speaking (Url
der the scope of Istanbul Technical University <http://www.langsci.ucl.ac.uk/ipa/extIPAChart
Institute of Social Sciences Musicology and 2008.pdf>), IPA number table (Url
Music Theory Program doctorate thesis, which <http://www.langsci.ucl.ac.uk/ipa/IPA_Number
is configured in phonetics/morphology/lexicon _chart_(C)2005.pdf>), IPA unicode character
axis of together with traditional/international codes(Url<http://www.langsci.ucl.ac.uk/ipa/pho
attachments based on Standard Turkey Turk- nsymbol.pdf>),IPA X-SAMPA equivalency
ish/STT (the standard language/standard variant table (Url
which is recognized and adopted in a communi- <http://www.kreativekorp.com/miscpages/ipa/i
ty as a means of agreements among the regions, pa-x.html>).
gains dominant position by becoming wide-
spread spoken dialects and has a large function Turkish Folk Music Phonetic Notation Sys-
among language types and usage areas is in a tem Sound Database/TFMPNS SD: Internation-
position of means of communication among al Phonetic Alphabet/IPA sound records (Url
speakers of different dialects: Demir, 2002/4: <http://www.langsci.ucl.ac.uk/ipa/sounds.html>
pp. 105-116), Turkish Linguistic Institution ), International Phonetic Alphabet/IPA Turkish
Transcription Signs/TLITS (transcription marks vowel/consonants tables sound records (IPA,
86
1999: pp. 154-156), Turkish Language Institu- gram/RBTPTP character codes (Bicil & Demir,
tion Turkish Audio Dictionary/TLI TAD (Url 2012), Turkey Turkish Pronunciation Diction-
<http://www.tdk.gov.tr/>), 128 pieces of Turk- ary/TTPD phonology ABCs: Standard Tukey
ish folk music texts sound records transcripted Turkish/STT IPA provisions of vowels and
with the Urfa/Kerkuk/Tallafer Dialects Turkish consonants (Ergenç, 2002: pp. 46-47), UCLA
Language Institution Transcript Signs/UKTD phonetics lab archive/Turkish language section
TLITS (Url (Url <http://archive.phonetics.ucla.edu>), Inter-
<https://tez.yok.gov.tr/UlusalTezMerkezi/>). national Phonetic Alphabet/IPA (Url
<http://www.langsci.ucl.ac.uk/ipa/IPA_chart_(
Turkish Folk Music Phonetic Notation Sys- C)2005.pdf>), extra-IPA symbols for irregular
tem Dictionary Database/TFMPNS DD: Turk- speech(Url<http://www.langsci.ucl.ac.uk/ipa/ex
ish Language Institution Current Turkish Dic- tIPAChart2008.pdf>), IPA number table (Url
tionary/TLI CTD (Url <http://www.langsci.ucl.ac.uk/ipa/IPA_Number
<http://www.tdk.gov.tr/index.php?option=com_ _chart_(C)2005.pdf>), IPA X-SAMPA equiva-
gts&view=gts>), Turkish Language Institution lency table (Url
Turkish Audio Dictionary/TLI TAD (Url <http://www.kreativekorp.com/miscpages/ipa/i
<http://www.tdk.gov.tr/index.php?option=com_ pa-x.html>), International Phonetic Alpha-
seslissozluk&view=seslissozluk>), Turkish bet/IPA Turkish vowel/consonant letter tables
Language Institution Big Turkish Diction- (IPA, 1999: pp. 154-156), IPA unicode charac-
ary/TLI BTD (Url ter code charts (Url
<http://www.tdk.gov.tr/index.php?option=com_ <http://www.langsci.ucl.ac.uk/ipa/phonsymbol.
bts&view=bts>), Turkish Language Institution pdf>), IPA fonts (SIL Encore IPA and SIL
Search Dictionary/TLI SD (Url IPA93 fonts (doulos/sophia/manuscript fonts:
<http://www.tdk.gov.tr/index.php?option=com_ base characters/diacritics/tone and punctua-
tarama&view=tarama>), Turkish Language In- tion)-phonetic fonts for macintosh/windows-
stitution Turkey Turkish Dialects Diction- adobe fonts for macintosh/windows-the four
ary/TLI TTDD (Url stone phonetic fonts in GIF form (stone
<http://www.tdk.gov.tr/index.php?option=com_ sans/stone sans alternate/stone serif/stone serif
ttas&view=ttas>), Turkish Language Institution alternate)-rogers fonts (IPAPhon) for macin-
Folk Dialects Compilation Dictionary in Tur- tosh/windows-phonetic fonts for TeX/LaTeX
key/TLI CDFDT (TDK, 2005: C. I-VI), Turkey etc. (Url
Turkish Pronunciation Dictionary/TTPD <http://www.langsci.ucl.ac.uk/ipa/ipafonts.html
(Ergenc, 2002: pp. 91-486), Ur- >).
fa/Kerkuk/Tallafer Dialects Index and Diction-
ary/UKTD ID (Ozbek, 2010: pp. 113-253). Also, Turkish Folk Music Phonetic Notation
System Database/TFMPNS D consists of some
Turkish Folk Music Phonetic Notation Sys- databases too, these are; Turkish Folk Music
tem Works Database/TFMPNS WD; 128 pieces Phonetic Notation System Aural Distinction
of Turkish folk music texts transcripted with the Test/TFMPNS ADT & Turkish Folk Music
Urfa/Kerkuk/Tallafer Dialects Turkish Lan- Phonetic Notation System Articulation
guage Institution Transcription Signs/UKTD Test/TFMPNS AT & Turkish Folk Music Pho-
TLITS (Ozbek, 2010: pp. 254-329), IPA Turca: netic Notation System Phonological Awareness
Rule-Based Turkish Phonetic Converter Pro- Competencies Education Sessions/TFMPNS
gram/RBTPCP (Bicil & Demir, 2012). PACES & Turkish Folk Music Phonetic Nota-
Turkish Folk Music Phonetic Notation System tion System Phonological Awareness Compe-
Phonotactical Probability Calculator Data- tencies Control Lists/TFMPNS PACCL &
base/THMFNS PPCD: IPA provisions and Turkish Folk Music Phonetic Notation System
sound definitions of the letters in Turkish al- Phonological/Morphological/Lexicological Cri-
phabets IPA provisions of transcript signs teria Identification Test/TFMPNS PMLCIT &
(Pekacar & Guner Dilek, 2009: pp. 584-588), Turkish Folk Music Phonetic Notation System
Urfa/Kerkuk/Tallafer Dialects Turkish Lan- Phonetic Analysis Test/TFMPNS PAT & Turk-
guage Institution Transcript Sings/UKTD ish Folk Music Phonetic Notation Sys-
TLITS vowel/consonant distinctive signs tem Sound Vocabulary Analysis
(Ozbek, 2010: pp. xviii, 11-19), IPA Turca: Tests/TFMPNS SVAT ect. (Refer with Figure
Rule Based Turkish Phonetic Translator Pro- 1-2 and Table 1-2).
87
 Figure 1. Musicolinguistic graphic sample (Ra- Table 1. Turkish Folk Music Phonetic Notation
dhakrishnan, 2011: pp. 423-463). System/TFMPNS Musicolectolo-
gy/Musicolinguistics/Musicolect/Musicolinguistic
Performance Characteristics
Gele gele geldik bir kara taşa/ɟelɛ ɟelɛ ɟeldic biɾ kɑɾɑ tɑʃɑ
Gele gele geldĭm bir ḳara daşa/Gɛlɛ gɛlɛ gɛldɯ̌m biɾ kɑɾɑ
dɑʃɑ
Region: Urfa
Taken From: Mukim Tahir
Compiled & Noted: Muzaffer Sarısozen
Reader: Tenekeci Mahmut Guzelgoz
TRT TFM Repertoire Sequence Number: 701
Standard International Turkish Lan- International
Turkey Phonetic guage Institu- Phonetic
Turkish/STT Alphabet/IPA tion Tran- Alpha-
scription bet/IPA
Signs/TLITS
Gele gele ɟelɛ ɟelɛ ɟeldic Gele gele Gɛlɛ gɛlɛ
geldik bir kara biɾ kɑɾɑ tɑʃɑ geldĭm bir gɛldɯ̌m biɾ
taşa ḳara daşa kɑɾɑ dɑʃɑ
Yazılanlar jɑʐɯɫɑnɫɑɾ Yazılanlar jɑzɯlɑnlɑɾ
gelir sağ olan ɟeliɾ sɑː oɫɑn gelĭr saġ olan gɛlɯ̌ɾ sɑɡ
Figure 2. Turkish Folk Music Phonetic Notation başa aman bɑʃɑ ɑmɑn başa aman ɔlɑn bɑʃɑ
System Works Database/TFMPNS WD: Ur- efendim efɛndim efendĭm ɑmɑn
ɛfɛndɯ̌m
fa/Kerkuk/Tallafer Dialects Turkish Language Insti-
Bizi hasret biʐi hɑsɾɛt Bĭzĭ ḥesret Bɯ̌zɯ̌ ḫɛsɾɛt
tution Transcription Signs/UKTD TLITS & Stand- koyar kavim kojɑɾ kɑvim ḳoydı ḳavım kɔjdɯ
ard Turkey Turkish/STT (text transcription: Ozbek, kardaşa kɑɾdɑʃɑ ḳardaşa kɑvɯm
2010: pp. 254-255 & musical notation: Demir, 2011: kɑɾdɑʃɑ
p. 250). Bir ayrılık bir biɾ Bir ayrılıḫ bir Biɾ ɑjɾɯlɯχ
yoksulluk bir ɑjɾɯɫɯk biɾ yoḫsıllıḫ bir biɾ jɔχsɯllɯχ
ölüm aman joksuɫɫuk biɾ ölǚm aman biɾ ɶļim
efendim ølym ɑmɑn efendĭm ɑmɑn
efɛndim ɛfɛndɯ̌m
Note 1. Tran- Note 2. IPA Note 3. Lin- Note 4. Inter-
scription Turca: IPA guistic ap- national Pho-
systems in provisions and proaches in netic Alpha-
Anatolia dia- sound descrip- ethnomusicol- bet/IPA usage
lect research- tion (Pekacar ogy (Stone, in dialect
es: transcript- and Guner 2008, pp. 51- researches of
ed with Stand- Dilek, 2009, 53): phonetic Turkish lan-
ard Turkey pp. 575-589) writing usage guage: written
Turkish/STT of the letters in in data record- dialect texts
in the axis of Turkish alpha- ing in musi- in Turkey by
standard writ- bet in Rule- cology: neces- using IPA
ing/transcripti Based Turkish sity of dialect (TDK-IPA)
on/variation Phonetic Con- documentation provisions of
method verter Pro- in linguistic transcription
(Demir, 2010, gram/RBTPC and musico- signs are
pp. 93-106). P (Bicil and logical axis: transcripted
Demir, 2012). Ur- with Standard
Turkey Turk- fa/Kerkuk/Tall Turkey Turk-
ish Pronuncia- afer Dialects ish/STT-
tion Diction- Turkish Lan- Turkish Lan-
ary/TTPD guage Institu- guage Institu-
phonology tion Transcrip- tion Tran-
ABC’s: tran- tion scription
scripted with Signs/UKTD Signs/TLITS-
International TLITS in the International
Phonetic Al- axis of phonet- Phonetic
phabet/IPA ic notation Alphabet/IPA
(IPA, 1999) by method (Pekacar &
the IPA corre- (Demir, 2011) Guner Dilek,
spondences of of local dialect 2009, pp.
vowel and features of 574-589).
consonants Turkish folk
(Ergenc, 2002, music: tran-
pp. 1-496). scripted with
vowels-
consonants-
distinctive
signs (Ozbek,
2010, pp. iii-
338).
88
 Table 2. Turkish Folk Music Phonetic Notation
System/TFMPNS Musicolectolo- Note 3. Syntactic criteria of sound/syllable/word/sentence
gy/Musicolinguistics/Musicolect/Musicolinguistic existing in theoretical and practical background of the I. line
Performance Characteristics of the Turkish folk music literary/musical text: prosodic
phonotactical analysis (Sherer, 1994): (.) = represents the
syllabic segmentation points. When prosodic phonotactical
Gele gele geldik bir kara taşa/ɟelɛ ɟelɛ ɟeldic biɾ kɑɾɑ tɑʃɑ analysis method is applied to all lines of the folk music text,
Gele gele geldĭm bir ḳara daşa/Gɛlɛ gɛlɛ gɛldɯ̌m biɾ differences may arise in the acoustic/syllabic/word/sentential
kɑɾɑ dɑʃɑ partitioning/impact points axis in terms of linguis-
tic/rhythmic-music scientific/melodic prosody overlap rules.
Region: Urfa Turkish Turkey Ur- Turkish
Taken From: Mukim Tahir Language Turkish fa/Kerkuk/ Folk Music
Compiled & Noted: Muzaffer Sarısozen Institution Pronuncia- Tallafer Phonetic
Reader: Tenekeci Mahmut Guzelgoz Dictionary tion Dialects Notation
TRT TFM Repertoire Sequence Number: 701 Data- tion- Index and System Dic-
Standard Interna- Turkish Interna- base/TLI ary/TTPD Diction- tionary
Turkey tional Pho- Language tional Pho- DD ary/UKTD Data-
Turk- netic Al- Institution netic Al- ID base/TFMP
ish/STT phabet/IPA Transcrip- phabet/IPA NS DD
tion gele: gele ɟe'lɛ: gele > gele: to gele/ɟe'lɛ/gel
Signs/TLIT (TLI TAD)- ɟe'lɛ come, reach- e
S gele (TLI ing a place,
Gele gele ɟelɛ ɟelɛ Gele gele Gɛlɛ gɛlɛ BTD)- to arrive.
geldik bir ɟeldic biɾ geldĭm bir gɛldɯ̌m biɾ gelsin (TLI
kara taşa kɑɾɑ tɑʃɑ ḳara daşa kɑɾɑ dɑʃɑ CDFDT/TT
DD)-gel,
Note 1. Sound information criteria existing in the theory and hele gel,
application background of I. line of Turkish folk music liter- haydi gel
ary/musical text: Standard Turkey Turk- (TLI SD).
ish/STT>International Phonetic Alphabet/IPA [a] wide, flat,
soft palate (predorsal)>[α] wide, flat, back palate (post dor- geldik: ɟe'ldIc: gel > geldĭm: to geld-
sal)-[e] wide, flat, pre-tongue (closed)>[ɛ] wide, flat, pre- geldi-k ɟe'l-dIc come, reach- ik/ɟe'ldIc/gel
tongue (open)-[i] narrow, flat, odile (open)>[I]/[i] narrow, (TLI BTD). ing a place, dĭm
flat, pre-tongue (closed)-[b]>[b] voice, explosive, double- bir: bir (TLI to arrive
lip-[d]>[d] voice explosive, tongue tip is out-[k] voiceless, STS)-bir
explosive, back palate>[c] chimes, front palate, explosive- (TLI CTD)-
[g] tone, front palate-mid-tongue, explosive>[Ɉ] voice, ex-
plosive tongue-back palate (front)-[l]>[l] tone, gum, lateral ber/bi (TLI 'bIɣ: bir > bir: name of
fluent-[m]>[m] tone, double lip, nasal initial-[r] voice, multi- TTDD)-bir 'bIɣ the number, bir/bir/bir
matrix, tongue tip-gum>[ɾ] voice, single matrix, tongue tip- (TLI SD). the title of
gum [Ɣ] voiceless, fricative-[ş]>[ʃ] voiceless, fricative, uncertainty.
tongue-soft palate-[t]>[t] voiceless, explosive, tip end is out.
Urfa/Kerkuk/Talaffer Dialects Turkish Language Institution kara: kara kα'ɾα: kara > ḳara: black,
Transcript Signs/UKTD TLITS>International Phonetic Al- (CTD)-kara kα'ɾα dark, bad, ka-
phabet/IPA: [ĭ] short unaccented, a vowel between i/ė>[ɯ̌] (TLI distressed, ra/kα'ɾα/ḳara
very short ı-[ḳ] a back palate consonant thicker, explosive TTDD)- mourning.
and made further back than normal k constructing syllables kara (TLI
with thin or thick vowels>[k] voiceless, rear palate, explo- SD).
sive.
CVCV CVCV CVCV CVCV daşa: taş 'tα∫α: taş-a > daşa: stone.
CVCV CVCV CVCV CVCV (TLI CTD)- 'tα∫-α daşa/'tα∫α/da
CVCCVC CVCCVC CVCCVC CVCCVC taş (TLI şa
CVC CVC CVCV CVC CVCV CVC CVCV TTDD)-daş
CVCV CVCV CVCV CVCV (TLI SD).
CVCV
Note 4. Word existence criteria existing in the theoretical
Note 2. Form information criteria existing in theoretical and and practical background of I. line of the Turkish folk music
practical background in I. line of the Turkish folk music literary/musical text: Turkish Language Institution Diction-
literary/musical text: V/C analysis (Gorman, 2013: pp. 39- ary Database/TLI DD (Url <http://www.tdk.gov.tr>), Ur-
63): V=vowel (vowel letter), C=consonant (consonant let- fa/Kerkuk/Tallafer Dialects Index and Dictionary/UKTD ID
ter). When V/C analyzing method is applied to all lines of (Özbek, 2010: pp. 113-253), Turkey Turkish Pronunciation
the folk music text, differences in the axis of Dictionary/TTPD (Ergenç, 2002: pp. 46-47), Turkish Folk
sound/syllable/word/sentence orders may arise. Music Phonetic Notation System Dictionary Data-
Gele gele ɟelɛ ɟelɛ Gele gele Gɛlɛ gɛlɛ base/TFMPNS DD in the axis of transcripted with Standart
(ge.le ge.le) (ɟe.lɛ ɟe.lɛ) (ge.le ge.le) (Gɛ.lɛ gɛ.lɛ) Turkey Turkish/STT-Turkish Language Institution Tran-
gel.dik bir ɟel.dic biɾ gel.dĭm bir gɛl.dɯ̌m biɾ scription Signs/TLITS- International Phonetic Alphabet/IPA.
ka.ra ta.şa kɑ.ɾɑ tɑ.ʃɑ ḳa.ra da.şa kɑ.ɾɑ dɑ.ʃɑ
89
2. KayPENTAX®: Applied Speech Science studying in disordered motor speech fields as
For Dysarthrias Model 5153 well as graduates. This program has been in
particular integrated as a multimedia
Dysarthria has been defined such; according complementary into the
to speech and language therapists within the educational/instructional applications of motor
axis of complex neural integration and rapid speech disorders and standard materials
physiological coordination features and struc- implemented in the relevant trainings.
tured in line with sensory & neuro-motor pro-
cesses and within the framework of neuro- Instructors/students program embedded
automatic and neuropsychological factors, within the user-profile can be, through data
emerged as an impact of central and peripheral projectors and multimedia computers, actively
neural system lesions and damages (vascu- operated for personal/classroom
lar/traumatic/infectious/neuro- teaching/learning processes. It is an ideal
plastic/metabolic), and resulted from spastici- instructional program complementing many
ty/flaccidity/coordination disorder in the mus- other pedagogical programs and patient
cles that control articulation mechanism result- database. It offers an interactive multimedia
ing in neuro-motor problems affecting respira- approach to further grasp neurological
tory/phonation/articulation/resonance/prosody foundations of speech production and disorders
components and emerging as motor speech dis- relevant of damages on motor speech structures.
orders categorized under spas-
tic/flaccid/ataxic/hyphokinetik/hyperkinetik/mi This model stands out as a priceless resource
xed and several other types of dysarthria for the clinicians in need of a better insight on
(Url<http://www.dilkom.anadolu.edu.tr/motork speech-relevant neuron-anatomical
onusmadisorderlari.php>). characteristics and lesion sites connected to a
specific type of dysarthria and for those aiming
Speech scientist professor Byoung W. Kim to compare the speech model of a specific
and media technology expert John Grozik co- dysarthria-affected patient with other patients
designed a model specimen of pedagogical they examine. The clinicians utilizing Motor
software for instructors/students and Speech Profile Model 5141 are capable of
speech/language pathology interns stationed in monitoring quantitative/digital acoustic analysis
Wisconsin-Milwaukee University. This model data of dysarthria-affected patients and succeed
has been used as an interactive optional in contrasting the parameter profiles with the
sampling tool that could independently be patients they have examined.
operable for Computerized Speech
Laboratory/CSL Model 4500 & 4150B and In order to increment the cognitive
Multiple Speech Model 3700 and has been knowledge on a variety of motor speech
descriptive of teaching and database tools. In disorders this model offers easy access to
this tool extensive characteristics of detailed anatomic characteristics,
neurological/anatomical foundations and complementary qualities of a set of pathologies
clinical processes of speech production and and vocalic samplings. Motor speech and
dysarthria types have been presented. dysarthria classifications have been divided into
Dysarthria disorders problematic in articulation appropriate functional components. On
processes with respect to displayable or hideable briefing page there are
phonetic/morphological /word-ontological comprehensive neuro-anatomical images.
criteria have been demonstrated by employing a Defining characteristics and motor speech
set of speech characteristics in addition to results of each single dysarthria group bearing
objective secondary analyses with respect to the sites of lesion and neuropsychological
both the site of neuro-anatomical lesions and characteristics have been displayed
their clinical presentations as well (See Figure digitally/graphically. To perform standard
3-8). clinical speech tasks in the
theoretical/applicable substructure of program
This program offering the combination of database, illustrative presentations of
graphic, text and multimedia contents has abnormal/normal speech voice samples and
functioned as a quick, accessible and practical specimen patient profiles have been embedded.
reference guide for clinicians, undergraduates
90
 Figure 6. KayPENTAX®: Applied Speech
Science For Dysarthrias Model 5153; in this model
Figure 3. KayPENTAX®: Applied Speech noticeable clinical characteristics and speech
Science For Dysarthrias Model 5153; this module samples have been employed to explain the neuro-
displays the neuro-anatomic functional division of anatomical site of disorder-relevant lesions.
motor speech.

Figure 7. KayPENTAX®: Applied Speech

Science For Dysarthrias Model 5153; in this module
quantitative/digital/graphical acoustic analyses of
Figure 4. KayPENTAX®: Applied Speech the speech samples of disorder types have been
Science For Dysarthrias Model 5153; this module manifested. By employing Motor Speech Profile
displays neuroanatomy graphs of which structures Model 5141 program these results can be compared
have been labeled. It is feasible to display a briefing with normal patient databases.
page or the page could also be hidden to back up
personal research processes.

Figure 8. KayPENTAX®: Applied Speech

Science For Dysarthrias Model 5153; in this model,
actual brain drawing graphs and figures have been
presented to spot the anatomical location of the
Figure 5. KayPENTAX®: Applied Speech lesion.
Science For Dysarthrias Model 5153; it is feasible to (Url<http://www.kayelemetrics.com/index.php?
select one out of any six main divisions of motor option=com_product&view=product&Itemid=3
speech disorders. &controller=product&cid[]=22&task=pro_detai
ls>).
91
3. KayPENTAX®: Applied Speech Science motor planning and pronunciation. Respirato-
For Dysarthrias Model 5153 In the ry/phonation/pronunciation have been specified
Transfer/Adaptation Processes of Turkish as the imperative processes in the production of
Folk Music Phonetic Notation speech. During phonetic coding processes brain
System/TFMPNS Into operations can be activated in cognitive setting;
Educational/Instructional Practices ideas can be listed according to definite sounds
and knowledge related to the memory-stored
Turkish Folk Music Phonetic Notation Sys- language can be recalled. With respect to coded
tem Phonologic Awareness Skills Developmen- sounds, a range of decisions are taken on how
tal Processes/TFMPNS PNSPASDP; is a scien- to operate specific organs in motor planning
tific branch that analyzes via a supra-language level and signals are transmitted via nerves to
approach the speech sounds existing in the the- particular organs that would transfer this se-
oretical and practical substructure of phonolo- quencing so as to achieve pronunciation. Pro-
gy/acoustics. Speech sounds used selectively nunciation process is termed as the production
from the vocabulary have been constructed on of speech sounds via different movements of
micro/macro scale within the axis of cultural the sets in phonation channel and blocking of
and linguistic characteristics. Phonolog- the air stream through various forms and loca-
ic/phonetic awareness, being one of the basic tions in-mouth. Phonetic processing skills have
steps of the terms specifying sequen- been noted as the capability to employ the pho-
tial/syntagmatic connections of speech sounds netic knowledge in speech process and written
as the components of phonetics and its func- language. Phonetic processing skills have been
tions in the communication of speech sounds, distinguished from phonetic awareness in oper-
has been defined as the ability to gain aware- ational memory skills through coding phonetic
ness on speech sounds and manipulating speech knowledge and processes of intaking phonetic
sounds. The process entails phonetic processes data into long-term memory. Phonetic pro-
that enable utilization of knowledge relevant of cessing skills are classified into three groups as
phonetic recall, phonetic memory, phonetic phonetic memory (coding into a sound-based
production and various speech sounds. Success symbolization system)- phonetic use of vocabu-
in phonetic processes is linked with the acquisi- lary storage (retrieving the phonetic codes from
tion of phonetic strategies and effective applica- memory)-phonetic awareness (sensitivity level
tion. Speech action as a basic biological human of speech to sound structure). The factors con-
attribution is a physical/psychological/neuro- tributing to the development of phonetic aware-
physiological process that triggers motor ness skills have been defined as the effects of
movements. It also refers to the coding of ideas reading/spelling experiences and alphabetical
with audio symbols via speech organs in hear- knowledge. Despite being structurally separated
ing and sound channels of human beings. in the development processes of phonetic
Speech sounds have been examined within two awareness skills it is still required to acquire the
levels as phonemetic and phonetic. Phonemetic three functionally-connected skills (phonemetic
level analyzes the ability to correctly articulate perception, phonemetic distinction/connection
the sounds in dissimilar situations whilst pho- and articulation). It has been accentuated that
netic level encompasses the traits relevant of there is a possibility that the organic transfera-
the features related to the order- bility between phonetic awareness skills and
ing/sequencing/distribution of sounds. Pronun- articulation skills could be achieved (Yucel,
ciation competency relates to sequen- 2009: 1-7, 14-18, 190).
tial/harmonious movements of any given indi-
vidual's speech organs as well as acquisition of To the end of correcting a set of motor
the speech sounds of a particular language and speech disorders (audible inspiration, winded
correct pronunciation whilst phonetic compe- phonation, deficient vital capacity, hyper-
tency indicates the correct application of pho- nasality, nasal emission, poor respiratory sup-
nemes within linguistic rules and organization port, unclear vowel/consonant production, errat-
of phonetic cognitive knowledge. Phonetic ic and decreasing accentuating characteristics,
awareness skills are structured within the axis monotonous sound intensity and pitch control,
of personal differences and language-specific strong/breathy sound quality, de-
factors. Speech action preserves three main set- formed/inadequate pronunciation and prosody,
tings coded as phonetic organization, phonetic short/broken/breathy monotonous speech,
92
sound/syllable/speech stops) structured within Sound DB/TFMPNS SD, Turkish Folk Music
the axis of neuro-anatomic and neuropsycho- Phonetic Notation System Dictionary
logical factors of the active participants of DB/TFMPNS DD, Turkish Folk Music Phonet-
Turkish Folk Music Phonetic Notation System ic Notation System Work DB/TFMPNS WD,
User Profile/TFMPNS UP; stages of for- Turkish Folk Music Phonetic Notation System
mation/development of Turkish Folk Music Phonotactic Probability Calculator
Phonetic Notation System Phonetic Therapy DB/TFMPNS PPCD), Turkish Folk Music
Applications/TFMPNS PTA (Turkish Folk Mu- Phonetic Notation System Phonologic Aware-
sic Phonetic Notation System Audio Distinction ness Skills Development Processes/TFMPNS
Test/TFMPNS ADT, Turkish Folk Music Pho- PNSPASDP (Turkish Folk Music Phonetic No-
netic Notation System Articulation tation System Phonetic Therapy Applica-
Test/TFMPNS AT, Turkish Folk Music Phonet- tions/TFMPNS PTA, Turkish Folk Music Pho-
ic Notation System Phonetic Analysis netic Notation System Audio Distinction
Test/TFMPNS PAT, Turkish Folk Music Pho- Test/TFMPNS ADT, Turkish Folk Music Pho-
netic Notation System Phonet- netic Notation System Articulation
ic/Morphological/Structural Criteria Identifica- Test/TFMPNS AT, Turkish Folk Music Phonet-
tion Test/TFMPNS PMSCIT, Turkish Folk Mu- ic Notation System Phonetic Analysis
sic Phonetic Notation System Phonologic Test/TFMPNS PAT, Turkish Folk Music Pho-
Awareness Skills Training Sessions/TFMPNS netic Notation System Phonet-
PASTS, Turkish Folk Music Phonetic Notation ic/Morphological/Structural Criteria Identifica-
System Phonologic Awareness Skills Assess- tion Test/TFMPNS PMSCIT, Turkish Folk Mu-
ment Group/TFMPNS PASAG and relevant sic Phonetic Notation System Phonologic
data) need to be completed. Awareness Skills Training Sessions/TFMPNS
PASTS, Turkish Folk Music Phonetic Notation
System Phonologic Awareness Skills Assess-
4. Findings ment Group/TFMPNS PASAG) for-
mation/development and transfer/adaptation
In performance theory (in folkloric axis any processes to educational/instructional applica-
forms of folkloric term/concept/element- tions need to operated via utilizing KayPEN-
folklinguistic variance/variant/variation: Co- TAX® (Kay Electric Company & PENTAX
banoğlu, 1999) and ethnomusicology as one of Medical Company) Applied Speech Science
the folkloric analysis models of the For Dysarthrias Model 5153 sampling.
sound/speech characteristics structured within
the axis of local/universal phonologic and mu-
sicological rules; Turkish Folk Music has been References
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no musicological axis any forms of ethno- 5153., KayPENTAX®, A Division of PENTAX
musicological term/concept/element- Medical Company, 3 Paragon Drive, Montvale,
NJ 07645-1725, USA. (Url
ethnomusicolinguisticvari-
<www.kaypentax.com>).
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Turkish Folk Music, maintained its existence TUBİTAK National Electronic And Cryptology
within the theoretical/practical substructure of Research Institute/Multimedia Technologies Re-
literary/musical texts in connection with lo- search And Development Laboratory in UEKAE.
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[11] J. M. Estis, J. K. Coblentz and R. E. Moore, Of Philosophy Thesis, The Graduate School Of
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