Music of Turkey
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The roots of traditional music in Turkey span across centuries to a time when the
With the assimilation of immigrants from various regions the diversity of musical genres and musical instrumentation also expanded. Turkey has also seen documented folk music and recorded popular music produced in the ethnic styles of
Classical music
Ottoman court music has a large and varied system of modes or scales known as
A specific sequence of classical Turkish musical forms becomes a fasıl, a suite consisting of an instrumental prelude (peṣrev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations
- Composers and Performers
Other famous proponents of this genre include Sufi
Musical instruments
Traditional instruments in Turkish classical music today include
Ottoman harem music: Belly dance
From the makams of the royal courts to the melodies of the royal
This type of harem music was taken out of the sultan's private living quarters and to the public by male street entertainers and hired dancers of the Ottoman Empire, the male rakkas. These dancers performed publicly for wedding celebrations, feasts, festivals, and in the presence of the sultans.[7]
Modern oriental dance in Turkey is derived from this tradition of the Ottoman rakkas. Some mistakenly believe that Turkish oriental dancing is known as
Romani influences
Romani are known throughout Turkey for their musicianship. Their urban music brought echoes of classical Turkish music to the public via the meyhane or taverna. This type of fasıl music (a style, not to be confused with the fasıl form of classical Turkish music) with food and alcoholic beverages is often associated with the underclass of Turkish society, though it also can be found in more respectable establishments in modern times.[1]
Roma have also influenced the fasıl itself. Played in music halls, the dance music (oyun havası) required at the end of each fasıl has been incorporated with Ottoman rakkas or belly dancing motifs. The rhythmic ostinato accompanying the instrumental improvisation (ritimli taksim) for the bellydance parallels that of the classical gazel, a vocal improvisation in free rhythm with rhythmic accompaniment. Popular musical instruments in this kind of fasıl are the
Military music
The Janissary bands or
Turkish influence on Western classical music
Musical relations between the Turks and the rest of Europe can be traced back many centuries,
Western Influence on Turkish classical music
While the European military bands of the 18th century introduced the percussion instruments of the Ottoman janissary bands, a reciprocal influence emerged in the 19th century in the form of the Europeanisation of the Ottoman army band. In 1827,
After the
Further inroads came with the founding of a new school for the training of Western-style music instructors in 1924, renaming the Istanbul Oriental Music School as the
However, on the order of the founder of the republic,
By 1976, Turkish classical music had undergone a renaissance and a state musical conservatory in Istanbul was founded to give classical musicians the same support as folk musicians. Modern-day advocates of Western classical music in Turkey include Fazıl Say, İdil Biret, Suna Kan and the Pekinel sisters.
Early Years of The Republic
After the
On November 1, 1934
Right after this speech, on November 2, 1934, The Department of Publishing and Press banned Alaturca music, knowing what Mustafa Kemal meant when he said "… but only complying to the general rules of music…" was that the only acceptable type of music available to the public will be music following the principles of
Along with the radical ideology change, and the sudden application of these new ideas came an obvious tear in the fabric of the society. People who couldn't listen to Turkish music on Turkish Radio sought out the next best thing and started listening to the Arabic Radio. There are records of Turkish people calling into Egyptian, Crimean, and Haifan radio stations requesting Turkish songs they were used to listening to, since The Middle East already consumed and re-created a lot of Turkish Music since the rise of the Ottoman Empire in the middle of the millennium.[17] Turkish people started listening to other nations' version of Turkish songs. This cleared the way for the
Folk music
Folk music or Türkü generally deals with subjects surrounding daily life in less grandiose terms than the love and emotion usually contained in its traditional counterpart, Ottoman court music.[5]
Most songs recount stories of real-life events and Turkish folklore, or have developed through song contests between troubadour poets.[19] Corresponding to their origins, folk songs are usually played at weddings, funerals and special festivals.
Regional folk music generally accompanies folk dances, which vary significantly across regions. For example, at marriage ceremonies in the Aegean guests will dance the
The regional mood also affects the subject of the folk songs, e.g. folk songs from the Black Sea are lively in general and express the customs of the region. Songs about betrayal have an air of defiance about them instead of sadness, whereas the further south travelled in Turkey the more the melodies resemble a lament.[20]
As this genre is viewed as a music of the people, musicians in socialist movements began to adapt folk music with contemporary sounds and arrangements in the form of protest music.
In the 70s and 80s, modern bards following the aşık tradition such as
Other contemporary progenitors took their lead such as
In more recent times, saz orchestras, accompanied with many other traditional instruments and a merger with arabesque melodies have kept modern folk songs popular in Turkey.[1]
Folk instruments
Folk instruments range from string groups as
Due to the cultural crossbreeding prevalent during the Ottoman Empire, the bağlama has influenced various cultures in the Eastern Mediterranean, e.g. the Greek
Folk literature
A large body of folk songs are derived from minstrels or bard-poets called ozan in Turkish. They have been developing Turkish folk literature since the beginning of 11th century. The musical instrument used by these bard-poets is the saz or bağlama. They are often taught by other senior minstrels, learning expert idioms, procedures, and methods in the performance of the art.[22] These lessons often take place at minstrel meetings and the coffeehouses they frequent. Those bard-poets who become experts or alaylı then take apprentices for themselves and continue the tradition.[22]
A minstrel's creative output usually takes two major forms. One, in musical rhyming contests with other bards, where the competition ends with the defeat of the minstrel who cannot find an appropriate quatrain to the rhyme and two, storytelling.[19] These folk stories are extracted from real life, folklore, dreams and legends.[22] One of the most well-known followings are those bards that put the title aşık in front of their names.
Arabesque
Arabic music had been banned in Turkey in 1948, but starting in the 1970s immigration from predominantly southeastern rural areas to big cities and particularly to Istanbul gave rise to a new cultural synthesis. This changed the musical makeup of Istanbul. The old tavernas and music halls of fasıl music were to shut down in place of a new type of music.[1] These new urban residents brought their own taste of music, which due to their locality was largely middle eastern. Musicologists derogatively termed this genre as arabesque due to the high-pitched wailing that is synonymous with Arabic singing.
Its mainstream popularity rose so much in the 1980s that it even threatened the existence of Turkish pop, with rising stars such as
It is not really accurate to group Arabesk with folk music. It owes little to folk music, and would be more accurately described as form of popular music based on the makam scales found in Ottoman and Turkish classical music. Though Arabesk was accused of having been derived from Arabic music, the scales (makam) used identify it as music, that, though influenced by both Arabic and Western music, is much more Turkish in origin.
Religious music
Islamic Recitation
"Islamic Recitation," a term associated with mainstream religion in Turkey, includes the azan (call-to-prayer), Kur'an-ı Kerim (Koran recitation), Mevlit (Ascension Poem), and ilahi (hymns usually sung in a group, often outside a mosque). On musical grounds, mosque music in large urban areas often resembles classical Turkish music in its learned use of makam and poetry, e.g., a Mevlit sung at Sultan Ahmet mosque in Istanbul. Dervish/Sufi music is rarely associated with a mosque. Kâni Karaca was a leading performer of mosque music in recent times.[23]
Alevi influences: The Aşık (Ashik) traditions
It is suggested that about a fifth of the Turkish population are Alevis, whose folk music is performed by a type of travelling bard or ozan called aşık, who travels with the
Middle Anatolia is home to the
Sufi influences: The Mevlevi traditions
Followers of the
Regional folk styles
Minorities and indigenous peoples have added and enhanced Turkish folk styles, while they have adopted Turkish folk traditions and instruments. Folk songs are identifiable and distinguished by regions.
Aegean and Rumeli regions
Cities like
Black Sea and Caspian Sea regions
Central Asian Turkic peoples from the
Southeastern regions
Southeastern regions carry influences from
Kanto (Cantare music)
The improvised pieces were stage adaptations of the Karagöz (shadow puppet) and Ortaoyunu (traditional form of Turkish theatre performed in the open) traditions, although in a much more simplified form. The themes explored in these traditional theater arts as well as their stock characterizations and stereotypes were used as the framework for the new extemporaneous performances of the tuluat (improvised) theater.
As with their Italian counterparts, the Turkish troupes employed songs and music before the show and between the acts to pique people's interest and draw in customers.
Kanto: songs sung between the acts as solos or duets, based on traditional eastern makam (modes) but performed on western instruments.
Kanto: "first the introduction, then the lyrics, shake your shoulders to a violin, solo, cock your head and shimmy in oriental dance style, leap around like a partridge, then slowly disappear behind the curtain."
Kanto: the irreplaceable unifying feature of ali Turkish tuluat theater. We can divide kanto into two periods. The division, particularly in terms of musical structure, is very clear between the early kanto and the kanto of the Post-Republic period. It is further possible to identify two styles within the early period. Galata and Direklerarası (both neighbourhoods of Old Istanbul).
Kanto first took root in the musical theaters of Galata, a part of town frequented by sailors, rowdies and roustabouts. Ahmed Rasim Bey paints a vivid picture of the Galata theaters in his 1922 memoir entitled Fuhş-i Atik (Prostitution in the Old Days):
Everyone thought Peruz was the most flirtatious, most skillful and the most provocative. The seats closest to the stage were always crammed full... They said of Peruz, 'she is a trollop who has ensnared the heart of many a young man and has made herself the enemy of many. 'Her songs would hardly be finished when chairs, flowers, bouquets and beribboned letters. Come flying from the boxseats. It seemed the building would be shaken to the ground.
Direklerarası was a little off the beaten track and in comparison to Galata was a more refined center of entertainment. Direklerarası was said to be quite lively at night during the month of Ramadan (Ramazan in Turkish) and certainly once its attraction was its family atmosphere. It was here that the troupes of Kel Hasan and Abdi Efendi and later that of Neshid enjoyed a great popularity. It was under the influence of these masters that kanto experienced its golden years.
The troupes orchestra would be made up of such instruments as the trumpet, trombone, violin, trap drum and cymbals. The orchestra would start to play popular songs of the day and marches in front of the theatre about an hour before the show to drum up interest. This intermission or Antrak music ended up with the well-known Izmir March, a sign that the show time was approaching. The play began as the musicians went in and took their places at the side of the stage.
The kanto singers of the period were also composers. Set to extraordinarily simple melodies which were the fashion of the day, the lyrics relied heavily of tensions between men and women as well as reflecting topical events. The compositions were in such fundamental makams as Rast, Hüzzam, Hicaz, Hüseyni and Nihavent. Kanto songs are remembered both by the names of their interpreters and by their creators, artists such as Peruz, Shamran, Kamelya, Eleni. Küçük and Büyük Amelya, Mari Ferha and Virjin. That kanto brought an erotic element to the stage performance was an important aspect and one that should not be overlooked or separated out.
Art and cultural life gained new dimensions with the changes brought about by the 1923 formation of the Turkish Republic. It was a period of rapid transformation and its effects were widespread. Turkish women had finally won the freedom to appear on the stage, breaking the monopoly previously held by
Western lifestyles and Western-style art put pressure on the traditional Turkish formats and these were swept off to the side. The operetta, the tango, then later the Charleston and the foxtrot overshadowed kanto. Kanto's popularity began to fade, the city's centers of entertainment shifted, and the theaters of Galata and Direklerarası were closed down. Turkish female artists were unreceptive to kanto's inherent ribairy and chose to keep their distance from it.
Around 1935, there was a revival of interest in the kanto form. Although rather far from its fundamental principles, a new type of kanto was once again popular.
It is important to point out that kanto had now moved from the stage to the recording studio. While the subjects dealt with in the lyrics were still the same old quarrels between men and women, mixed in with satirical takes on fashion and current events, the songs were being written with the
Among the topics explored by the new kantocu (singer or composer of kanto) perhaps the most frequent subject of satire was the new role of women brought about by the formation of the Republic. Songs like Sarhoş Kızlar (Drunken Girls) or Şoför Kadınlar (Women Drivers) were sung seemingly in revenge for all the suffering they had endured at the hands of men in the past. Other topical songs include Daktilo (The Typewriter) which brought to mind the newly formed Secretaires 7 Society. Songs such as Bereli Kız (The Girl with the Beret) and Kadın Asker Olursa (If Women Were Soldiers) were full of mockery and ridicule.
The early period kanto were largely nourished by Istanbul culture. It was much the same in the Post-Republican period. The city's large and diverse population provided both the characters and the events that were the mainstay of kanto. Kanto was heavily influenced by musical theatre. Roman (gypsy) music and culture, which was itself the subject of satire, left its mark on kanto form. Another major influence was
Eventually kanto became more of a definition, a generalized genre than a musical term. Any tune that was outside of the day's musical conventions, anything light that appealed to current trends and tastes, was labeled kanto. Any music played with different instruments that was free rhythmic or somehow novel was labeled kanto; it was the product of the middie-class, urban culture of Istanbul.
Kanto has been viewed as a forerunner of today's pop culture.
Popular music
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Turkish ice cream man song |
Popular music is distinguished from the traditional genres as those styles that entered the Turkish musicality after the fall of the Ottoman Empire, either due to attempts of national modernization from 1924 onwards, the opening of the republic to Western musical influences or modern fusions and innovations from artists themselves.[1]
Mainstream pop
Turkish pop music had its humble beginnings in the late 1950s with Turkish cover versions of a wide range of imported popular styles, including rock and roll, tango, and jazz. As more styles emerged, they were also adopted, such as hip hop, heavy metal and reggae.
The self-named "superstar" of the "arrangement" (aranjman) era of the 70s was
The biggest male pop stars in Turkey are arguably
Turkish hip hop
Anatolian rock
The Turkish rock scene began in the mid- to late 1960s, when popular United States and United Kingdom bands became well-known. Soon, a distinctively Turkish fusion of rock and folk emerged; this was called Anatolian rock, a term which nowadays may be generically ascribed to most of Turkish rock.[1] Barış Manço, Cem Karaca and Erkin Koray are the best known performers; Moğollar and Kurtalan Ekspres are the best known groups of older classical Anatolian rock music.
Islamic anasheed
Islamic anasheed are also very popular among some of the Turkish people. The most popular artist in Turkey is the British Azeri, Sami Yusuf, a concert in Istanbul drew an audience of over 200,000, his biggest concert so far around the world.[28] He is one of the most notable singers of anasheed, and can speak in many different languages, which includes Turkish.[citation needed] To date he has performed at sell out concerts in over 30 countries across the world from Istanbul to Casablanca, United States to Germany. Some albums selling more than a million copies in comparison to western music. In Jan 2009 Sami travelled to Turkey where he was invited by Emine Erdoğan, wife of the Turkish Prime Minister Recep Tayyip Erdoğan, to attend a rally in support of peace in Gaza.[29] Another popular Turkish singer is Feridun Özdemir, who mainly sings of God and true faith. His records are most successful in the anasheed genre.[30]
Heavy metal and industrial
Heavy metal and industrial groups from Turkey include Pentagram (known as Mezarkabul outside Turkey) and Almora.[31] Individual musicians in these genres include Ogün Sanlısoy and Hayko Cepkin.
Underground black metal and death metal
Underground black metal and death metal bands known from Turkey are Witchtrap, Ehrimen, Satanized, Godslaying Hellblast, Burial Invocation, Deggial, Decaying Purity.
Turkish Trance
Trance is a rare musical genre in Turkey but it also has specific listeners. This genre gained when the first Turkish trance music composed by Murtaza Khojami and the song named for Yalnızlık Düşünceler[32] with mixed criticism.
Pop-rock and rock
As a singular phenomenon amidst popular currents since the mid-1970s, Bülent Ortaçgil appeared as an urban songwriter/musician with a distinct musical quality, and became a role model for aspiring young musicians.[citation needed] He was the only Turkish musician for whom a tribute album was compiled that included several prominent performers from a wide gamut of different genres.
Other recent rock bands with a more Western sound who have enjoyed mainstream success include
Underground and club music
There are many clubs across Turkey, especially across its Aegean region. The alternative music scene however is derived mostly from Istanbul's thriving underground club scene that sees
Musical influence of Syrian refugees and other immigrants
The influx of immigrants and refugees from Afghanistan, Syria, Iraq, Pakistan, Central Asian, and African countries has affected the Turkish musical landscape, particularly in Istanbul.[36][37] Bands such as Country for Syria, and Saktat explicitly blend the music of different refugee communities in Istanbul to create a mix of Turkish, Arab, Greek, Persian, and Western influences.[38] Busking has played an important role in the development of this style.[39]
Music industry
The Turkish music industry includes a number of fields, ranging from record companies to radio stations and community and state orchestras. Most of the
In recent years, the music industry has been embroiled in turmoil over the rise of the Internet downloading of copyrighted music and general piracy; many musicians and MÜ-YAP have sought to punish fans who illegally download copyrighted music.[40] On 13 June 2006 it was reported that MÜ-YAP and The Orchard, the world's leading distributor and marketer of independent music, had reached an agreement on digital global distribution, representing approximately 80% of the Turkish music market.[41]
There is not a substantial singles market in Turkey.[1] It is album orientated, although popular singers such as Yonca Evcimik and Tarkan have released singles with success.[42] Most music charts not related to album sales, measure popularity by music video feedback and radio airplay.[43]
Turkish radio stations often broadcast popular music. Each music station has a format, or a category of songs to be played; these are generally similar to but not the same as ordinary generic classification. With the introduction of commercial radio and television in the early 1990s ending the monopoly of the Turkish Radio and Television Corporation (TRT), a multitude of radio and TV stations were opened by newspaper media moguls.[1] These media chains sponsor award ceremonies such as the Kral TV awards for music, but most accredited music awards are based on sales given out by industry societies such as MÜ-YAP and the Magazine Journalists Society (MJS).[44][45]
Though major record companies dominate the Turkish industry, an
Perhaps the most successful Turkish name associated with indie music outside of Turkey is
Music education
Music has a place in education in Turkey, and is a part of most or all school systems in the country. High schools generally offer classes in singing, mostly choral, and instrumentation in the form of a large school band or social clubs and communities for Turkish classical or folk music, known as cemiyets.[1] Music may also be a part of theatrical productions put on by a school's drama department. Many public and private schools have sponsored music clubs and groups, most commonly including the marching band that performs Mehter marches at school festivals. However, class time given to music in schools is restricted, and a large proportion of Turkish children and adults seem to have limited musical ability, e.g. they are unable to join a melody singing at the same pitch.
Higher education in the field of music in Turkey is mostly based around large universities, connected to state music academies and conservatories. A conservatory is usually a department of a university, not a separate institution. While many students join conservatories at the usual university entrance age, some conservatories also include a 'Lise' (Lycee), in effect a specialist music school for children aged 14 to 18 years. Conservatories often have a musicology department, and do research on many styles of music especially the Turkish traditional genres, while also keeping a database of sounds in their sound libraries.[1]
Holidays and festivals
Music is an important part of several Turkish holidays and festivals, especially playing a major part in the springtime celebration of
Istanbul, Ankara and İzmir are also home to numerous music festivals which showcase styles ranging from the blues and jazz to indie rock and heavy metal. Some music festivals are strictly local in scope, including few or no performers with a national reputation, and are generally operated by local promoters. Recently large soft drink companies have operated their own music festivals, such as Rock'n Coke and Fanta parties, which draw huge crowds.
Notable people
- Emre Araci
- Wojciech Bobowski
- Mercan Dede
- Ahmet Ertegun
- Nesuhi Ertegun
- Oruç Güvenç
- Gülçin Yahya Kaçar
- Arif Mardin
- Erkan Oğur
- Cem Tuncer
- Baba Zula
See also
- Jazz in Turkey, 2013 documentary film
- List of Turkish composers
- List of Turkish musicians
- List of music festivals in Turkey
- List of Turks in world culture
- Turkey in the Eurovision Song Contest
- Türkvizyon Song Contest 2013
Notes and references
- ^ ISBN 1-85828-636-0., pp 396-410.
- ^ a b "History of music in Turkey". Les Arts Turcs. May 1, 1999.
- ^ a b "Istanbul Music Scene". Yildirim, Ali. Tarkan DeLuxe. Retrieved May 16, 2005.
- .
- ^ Tanrıkorurargues that the perceived differences between the traditional music genres stemmed from the cultural clash between the East and the West that emerged during the Tanzîmat Era (1839-1908).
- ^ "The Fasil". Ottoman Souvenir. Retrieved April 15, 2004.
- ^ a b c "Male belly dance in Turkey". Jahal, Jasmin. Retrieved February 2, 2002.
- ^ "Ottoman Military Music". MilitaryMusic.com. Archived from the original on February 22, 2003. Retrieved February 11, 2003.
- Donizetti's brother, Giuseppe Donizetti, was invited to become Master of Music to Sultan Mahmud IIin 1827.
- ISBN 1-55553-169-5. pp.13-14; see also pp.31-2. According to Jonathan Bellman, it was "evolved from a sort of battle music played by Turkish military bands outside the walls of Vienna during the siege of that city in 1683."
- ^ "BETWEEN EMPIRES 'Orientalism' Before 1600". Araci, Emre. Trinity College Chapel, Cambridge. Archived from the original on July 20, 2001. Retrieved July 15, 2001.
- ^ Woodard, Kathryn. "Music in the Imperial Harem and the Life of Ottoman Composer Leyla Saz". Sonic Crossroads.
- S2CID 143740608.
- ISBN 0-691-09120-X., p 50
- ^ USTA, Nazlı. "The Transformation Of Music In Early Republican Period In Turkey." Researchgate.net, July 2010, .
- ^ a b TUNÇAY, Çağlar. "Musical Implementations of Atatürk's Term." 9 Eylül Üniversitesi, Atatürk İlkeleri Ve İnkılap, 2009, pp. 54–95.
- ^ ADIGÜZEL, Adnan. "WESTERNIZATION OF TURKISH (CLASSIC) MUSIC FROM OTTOMAN EMPIRE TO TURKISH REPUBLIC AND PROHIBITED YEARS OF TURKISH MUSIC." Eskişehir Osmangazi Üniversitesi, Eskişehir Osmangazi Üniversitesi, İlahiyat Fakültesi, İslam Tarihi Ve Sanatları Bölümü, 0AD, pp. 4–10.
- ^ Karşıcı, Gülay. "MÜZİK TÜRLERİNE İDEOLOJİK YAKLAŞIM: 1970-1990 YILLARI ARASINDAKİ TRT SANSÜRÜ." CIU, Jan. 2010, pp. 170–177.
- ^ ISBN 0-8153-1239-3., p 36
- ^ "Folk Music: Story of a Nation". Turkishculture.org. Archived from the original on August 10, 2003. Retrieved November 10, 2003.
- ^ a b "Introduction to Sufi Music and Ritual in Turkey". Middle East Studies Association of North America. December 18, 1995. Archived from the original on April 8, 2007. The tradition of regional variations in the character of folk music prevails all around Anatolia and Thrace even today. The troubadour or minstrel (singer-poets) known as aşık contributed anonymously to this genre for ages.
- ^ a b c "Minstrel Literature". Turkish Ministry of Culture. Archived from the original on September 14, 2002. Retrieved March 28, 2005.
- ^ See the audio selection from Mevlit at External links below
- ^ "The Sema". Mevlana.Net Owned by Mevlana's family. Archived from the original on January 24, 2005. Retrieved January 11, 2005. The sema dance is very ritualistic and full of symbolism.
- ^ a b "Pontic Music Page". Cline, Leigh. Retrieved February 2, 2006.
- Kiss Kiss" song.
- ^ "Migrant Workers in Germany - "The Lowest of the Low"". Qantara.de. Retrieved October 10, 2005.
- ^ "Awakening Music - YouTube". Retrieved 9 June 2022 – via YouTube.
- ^ "Sami in Turkey". Samiyusufofficial.com. Retrieved 2009-03-16.
- ^ "Qantara.de - Islamic Pop Music in Turkey - Combining Rock Music with an Islamic Message". Archived from the original on 2008-04-03. Retrieved 2008-09-25.
- ^ tr:Almora
- ^ "Günün albümü: Trance müziğe 'Yalnızlık Düşünceler". Soundcloud.com.
- ^ "Yurtdışında 16 albüm". Hurriyet.com.tr.
- ^ "Aksam Gazetesi - Cumartesi - 'Herkes kendine DJ demesin'". Archived from the original on 2007-11-12. Retrieved 2008-04-25.
- ^ "Mert Yucel". Discogs.
- ^ "Refugee musicians play in Turkey's camps - MUSIC". Hürriyet Daily News | LEADING NEWS SOURCE FOR TURKEY AND THE REGION. Retrieved 2017-02-09.
- ^ "This Syrian Composer Is Now a Refugee Writing Music on the Street - VICE". Vice. 27 November 2015. Retrieved 2017-02-09.
- ^ "'Country for Syria' band uses music to highlight refugee woes". English.alarabiya.net. 21 November 2016. Retrieved 9 June 2022.
- ^ "Meet the migrant musicians bringing new sounds to Istanbul", BBC News, 2016-05-21, retrieved 2017-02-09
- ^ a b "Turkish Phonographic Industry Society". MÜ-YAP. Retrieved April 10, 2005. They are part of the IFPI National group. The first long-term punishment for piracy distribution had been handed out in 2006.
- ^ "The Orchard Signs Global Distribution and Marketing Agreement With MU-YAP". PR Newswire (Press release). Retrieved June 13, 2006.
- Hüp".
- ^ "Powerturk Charts". Powerturk TV. Retrieved December 8, 2001.
- ^ "Kral TV Music Channel". Kral. Retrieved June 11, 2001.
- ^ "Magazine Journalists Society". MJS. Archived from the original on June 6, 2004. Retrieved December 18, 2005.
Further reading
- Bartók, Béla & Suchoff, Benjamin (1976). Turkish Folk Music from Asia Minor (The New York Bartok Archive Studies in Musicology, No. 7). Princeton University Press. ISBN 0-691-09120-X.
- Bates, Eliot (2011). Music in Turkey: Experiencing Music, Expressing Culture (Global Music Series). Oxford University Press. ISBN 978-0-195-39414-6.
- Head, Matthew (2000). Orientalism, Masquerade and Mozart's Turkish Music (Royal Musical Association Monographs S.). Ashgate. ISBN 0-306-76248-X.
- Jäger, Ralf Martin (1996). Türkische Kunstmusik und ihre handschriftlichen Quellen aus dem 19. Jahrhundert (Schriften zur Musikwissenschaft aus Münster 7). Wagner: Eisenach. ISBN 3-88979-072-0.
- Karakayali, Nedim (2010). "Two Assemblages of Cultural Transmission: Musicians, Political Actors and Educational Techniques in the Ottoman Empire and Western Europe". Journal of Historical Sociology, 23 (3): 343-371.
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(help) - Popescu-Judetz, Eugenia (1999). Prince Dimitrie Cantemir: Theorist and Composer of Turkish music. Pan Books. ISBN 975-7652-82-2.
- Signell, Karl (1977). Makam: Modal practice in Turkish Art Music. Asian Music Publications. ISBN 0-306-76248-X.
- Stokes, Martin (2010). The Republic of Love: Cultural Intimacy in Turkish Popular Music. University of Chicago Press. ISBN 978-0-226-77505-0.
- Tietze, Andreas & Yahalom, Joseph (1995). Ottoman Melodies - Hebrew Hymns: A 16th Century Cross-Cultural Adventure. Akademiai Kiado, Bibliotheca Orientalis Hungarica. ISBN 963-05-6864-0.
- "Whose Song is it?". Tarkan Deluxe. Retrieved November 9, 2004.
- "Yunus Emre: Sufi and Mystic". Tarkan Deluxe. Retrieved December 18, 2004.
- "Turkish Music". Turkish Embassy. Archived from the original on February 14, 2007. Retrieved April 16, 2006.
- DURU, Dr. Riza, Chronology of Turkish Music Theoreticians. April 9, 2021.
External links
This article's use of external links may not follow Wikipedia's policies or guidelines. (June 2022) |
- : Turkish music performed by Hungarian musicians, Budapest.
- Turkish music publications by Karl Signell.
- Turkish music performed by Hungarian musicians, Budapest.
- Turkish Music Quarterly print journal contents.
- BBC Radio 3 Audio (60 minutes): Selim Sesler, troubadour songs and an Alevi ceremony. Accessed November 25, 2010.
- BBC Radio 3 Audio (60 minutes): Aynur, Erkan Ogur, Kirike and Rembetiko. Accessed November 25, 2010.
- (in French) Audio clips: Traditional music of Turkey. Musée d'ethnographie de Genève. Accessed November 25, 2010.
- Turkish Music Portal All about Turkish Music
- Music of Turkey
- Crossing The Bridge: Sounds from Istanbul
- Turkish Music and Voice Library
- Music at the Uysal-Walker Archive of Turkish Oral Narrative
- Ney Making House Web Site
- Turkish Clarinet Music
- Golden Horn Records
- Turkish Musical Instruments Shop
- Insomnia Radio: Turkiye (Turkish Indie Music Available in English & Turkish)
- Turkey Music Listings
- Lifting the Boundaries: Muzaffer Efendi and the Transmission of Sufism to the West by Gregory Blann
- Field music of the Ottoman Court and Europe
- Mevlit "Merhaba bahrı" excerpt sung by Kâni Karaca
- Kanto
- Feza Neverd Interesting instrumental music composed by Mehmet Gencler
- Comprehensive Turkish Music Video Archive
- Anthology of Turkish Piano Music, Vol. I on SheetMusicPlus.com
- Anthology of Turkish Piano Music, Vol. II on SheetMusicPlus.com
- Anthology of Turkish Piano Music, Vol. III on SheetMusicPlus.com
- Rock Music Turkey
- Turkish Top 20