MUSIC AND CULTURE

 Music and integration

a study of Turkish Germans (Siegert, 2008)

 Personal
 feeling at home, connecting past to present, developing
personality
 Listens to recordings of Turkish music
 feels sad, nostalgic
Importance of own music
data from rater AD
Importance of own music

10
9
8
7
6
Number of People 5
4
3
2
1
0
very low low neutral high very high

Importance of own music

 Music and language
Thesis
Music is easier to understand across cultures than language.
“I think music is very important because music is a world
language. Everyone can understand it.”
Respondent 28, Copt, male, 40 yrs, 17 yrs in EU

“I can’t speak Italian but I like to listen to Italian music. I can’t

speak Turkish but I can listen to Turkish music.”
26, Copt, m, 44, 17

“On the radio I prefer to listen to music than language (news,

documentaries) because I don’t understand the language very
well.”
8 Chinese, f, 20, 2, 16, 1
Emotion
Thesis
Own music (music of one’s own culture) is more emotional

For
“There are so many songs in Albanian that could make me cry
because the words are so sad.”
11, Albanian, f, 23, 23, 4, 5
“When I hear songs about freedom fighters I start to cry.”
25 Kurd, m, 45, 18, 0, 5
Against
“Classical music is very emotional, I often get goose bumps …
pop music is emotional if the text goes well”
2, Chinese, f, 21, 4, 10, 2
Homesickness
Thesis
Own music can either increase or decrease
homesickness

“I avoid listening to Albanian music when I have

not been home for a while because it makes me
homesick.”
10, Albanian, f, 27, 7, 0, 4
 At home versus away
Thesis
Own music is more important when away from home

“The young people in Albania seem to avoid folk music. But

when they are away from home they want you to send them
CDs of folk music.”
10, Albanian, f, 27, 7, 0, 4

Austrians from local families were relatively uninterested in

Austrian classical or folk music.
  MUSIC AND COGNITION: On the
contribution of John Sloboda
 IRCAM, Paris, 23 January 2009
 Richard Parncutt
University of Graz, Austria
HISTORY AND PERIODS OF TURKISH MUSIC  

 The general periods listed below

 a panoramic view of Turkish music as a
whole.
 In general terms, Turkish music shows three
main periods over its history:
 A) Pre-Islamic Turkish music
B) Post-Islamic Turkish music
C) Contemporary post-Republic Turkish
music
Ottoman lady playing the
tambour
HISTORY AND PERIODS OF TURKISH MUSIC   PRE-ISLAMIC TURKISH
MUSIC

 This is a little known

period in Turkish history,
but it is certain that the
pre-Islamic cultures and
religions had an important
role in the development of
Turkish music. Especially
mystical elements such as
Shamanism, Manichaism
and Buddhism and the
epic song tradition were
widespread in almost all
the Turkic tribes during
this period.
 Religious figures with a mission similar to that of the ozan, devoted to
the Sky God, were known by names such as Shaman, Kam or Baksi.
With drums in hand, they served as minstrels, religious figures and
healers on the one hand; and on the other, used music as a vehicle to
meet the social needs of their societies
HISTORY AND PERIODS OF TURKISH MUSIC   POST-ISLAMIC TURKISH

MUSIC  
 Turkish life as it
developed and
diversified under Islam.

 As the Turks entered

the realm of Islamic
culture, the most
fundamental change to
come to their music
was in their musical
system.
 The Ottoman period
was one of history's
most brilliant periods
from the standpoint of
musical culture.
 Muslim Turkish
women were not
able to record until
1926 -27, after the
proclamation of
the Turkish
Republic. 
 Hence, the first
female singers
were Jewish, 
Armenian, Greek
and Gypsy-origin
Ottoman citizens.
Musicians playing the "
Rebab"
INSTRUMENTS   TURKISH CLASSICAL MUSIC

 STRING
WIND
 Çeng
Miskal or Skal or
 Kanun Musikar – PanFlute
 Kemançe & Rebab Ney or Nar
 Kemençe

 
Kopuz
 Lavta - Lute
 Santur
 Sine kemani
 Sehrud
 Tanbur
 Ud
 INSTRUMENTS  

 ÇENG
  

 The çeng belongs to the family of instruments known in organology as "open harps," which are
further divided into the "bow harps" and the "square harps." The çeng is in the latter groups.
 Of the square harps used for 2,500 years in not only the Middle East but in Central Asia and the
Far East as well, the Ottoman çeng was the last to fall into disuse.
 The father of the Ottoman çeng, which in Ottoman poetry was a metaphor for one in love
doubled over in agony from a lover's cruelty, was the Iranian çeng.
 1. The çeng was played by both men and women.
2. Miniatures depicting the çeng show it accompanying
talks by poets and learned men than on the stage.

 Possibly, when the Ottomans adopted the çeng that came

from Iran, another closed harp descended from the
Phoenician harp was in use in the Byzantine period.
KANUN
 The kanun is one of the
kithara class of
instruments, which
besides Turkey is used in
North Africa and the
Middle East, Iran,
Uzbekistan, Armenia,
Macedonia, Kosovo and
Greece.
 . The name kanun, used
in Turkey, Iran and all of
the Arab countries, is
replaced in other
countries by variations
either of the Arabic or
Greek counterpart.
KEMANÇE & REBAB
  
 The kemânçe, or rebab,
is classified in
organology as a
representative of the
"spike fiddle" family of
instruments. The word
kemânçe is derived
from a Persian word
meaning "small bow,"
but is used mostly in the
sense of "small bowed
instrument." The old
Iranian kemânçe, like
many other elements of
Iranian music, entered
Islamic music from the
very beginning.
KEMENÇE
  
 Kemençe is the
common name for
two very different
instruments, one
used in north
Anatolian folk
music, and the other
in Turkish classical
music. Names such
as "pear-shaped
kemençe" and "fasil
kemençe" used until
the mid-19th
century eventually
gave way to
"classical kemençe."

KOPUZ
 
 The kopuz is classified in organilogy
as a "short-necked lute."  The term
"kopuz," used since ancient times in
Central Asia to mean "musical
instrument," appears in today's
Turkic languages in several variants
such as komis, kobuz, kobiz, kubuz
and homis. It refers to several
instruments of varying degrees of
similarity.
 In the Middle Ages, an instrument
known in Iran and its surrounding
areas as rebab or  rûd, came into use
in Ottoman palace music with the
name kopuz in the 9th century at the
latest. From documents of palace
expenditures in 1525, it is apparent
that this had become the most
popular instrument.
LAVTA - LUTE
  
 Today, it seems that
there is no culture on
the earth that does not
use at least one
instrument in the lute
family. The oldest
lutes in history belong
to the ancient
Egyptian or
Mesopotamian
civilizations. (The
Turkish word lavta is
derived from the
Greek laouto/lagouto,
a corruption of the
Arabic el `ud. In some
Turkish texts of the
late 19th and early
20th centuries, the
word appears as
laguta.)
 SANTUR

 
 The santur belongs to the group of
instruments known in organology as
"hammered kitharas." The ancient
Greek word kithara is the common
name given to instruments with
multiple strings arranged parallel to
the sound board, in which each string
gives a fixed tone. The resonator of
kitharas generally consists of a box of
which the face and back are parallel.
The kanun, for example, is a plucked
kithara.
 SEHRUD

 
 The sehrud is classified
as a "short-necked
lute." The word sehrud
is of Persian origin,
derived from the words
sah-i rûd meaning
"king of lutes/large lute
TANBUR
 
 The tanbur is the most
important plucked
stringed instrument of
Turkish classical music.
 The word, a form of the
Arabic word "tunbur," is
generally considered to
derive from the Sumerian
word "pantur," which was
the name for a long-
necked string instrument
with a half-spherical body.
The word later came to be
used in Iran and Central
Asia for a group of long-
necked instruments with
pear-shaped bodies,
which more resembled
today's baglama.
UD
 
 The ud is a large-
bodied, short-
necked
instrument
belonging to the
lute family.
Besides Turkey,
it is played in the
entire Arab
world including
Tunisia,
Morocco and
Algeria, as well
as Iran and
Armenia. In Iran,
it is known as
the barbat.
FIPPLELESS FLUTES

 
ney
 BAGPIPIPES
 a) Tulum
b) Gayda
PERCUSSION INSTRUMENTS
 TURKISH MUSIC COMPOSITIONS  
 TURKISH CLASSICAL MUSIC
 TURKISH FOLK MUSIC  
 TURKISH FOLK MUSIC
   KID FOLK SONGS
 LULLABYS
 MILITARY MUSIC
 POPULAR MUSIC  
 POP MUSIC
   ARABESK
 CONTEMPORARY TURKISH MUSIC  
 CONTEMPORARY TURKISH MUSIC
 KID SONGS
 WEST MUSIC SAMPLES THAT HAS BEEN EFFECTED FROM TURKISH MUSIC
 Bu sayfayi ac orenekler indir
 TYPES OF TURKISH MUSIC  
 TURKISH CLASSICAL MUSIC
 TURKISH FOLK MUSIC
 MILITARY MUSIC
 CONTEMPORARY TURKISH MUSIC
 MUSIC FOR THERAPY
 POP MUSIC  
 POP MUSIC 
 ARABESK 
 Ornekler
 Melike Aydın
 2010